Download Katharine Hepburn Papers - New York Public Library

Guide to the Katharine Hepburn Papers, ca. 1854 – 1997 and undated
(Bulk Dates 1928 – 1994)
*T-Mss 2007-009
Billy Rose Theatre Division
The New York Public Library for the Performing Arts
New York, New York
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Date Completed: Dec. 2007
Processed and encoded through a gift from Robert W. Wilson.
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Katharine Hepburn Papers
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Katharine Hepburn Papers
*T-Mss 2007-009
Hepburn, Katharine
30 linear feet (65 boxes)
Billy Rose Theatre Division.
The New York Public Library for the Performing Arts
Abstract: The Katharine Hepburn papers consist of correspondence, scripts,
photographs, scrapbooks, programs, contracts, financial papers, production materials,
notebooks, and clippings documenting the theatrical career of the legendary actress. A
few items from radio, television, and motion picture performances are also included.
There are also a number of materials from her files relating to the theater, such as books,
programs for performing arts events she attended, and memorabilia relating to 19th and
early 20th century actors.
Administrative Information
Access
Collection is open to the public. Library policy on photocopying will apply.
Advance notice may be required.
Publication Rights
For permission to publish, contact the Curator, Billy Rose Theatre Division.
Preferred Citation
Katharine Hepburn Papers, *T-Mss 2007-009, Billy Rose Theatre Division, The
New York Public Library for the Performing Arts.
Custodial History
The Katharine Hepburn Papers, gift of Katharine Hepburn, were donated to the Billy
Rose Theatre Division in 2007.
Processing Information
The collection was processed and cataloged in 2007.
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Katharine Hepburn Papers
Biographical Note
Star of stage and screen, and international icon, actress Katharine Houghton
Hepburn was born on May 12, 1907 in Hartford, Connecticut to Dr. Thomas N. Hepburn,
a distinguished urologist and surgeon specializing in the treatment of venereal disease,
and Katharine (Kit) Martha Houghton, an advocate of women’s suffrage and birth
control. Hepburn’s parents devoted themselves to working for social causes in which
they believed, as well as to raising their family.
Hepburn was the second of six children. Known as “Kath” and “Kathy” as a child,
Hepburn, reputedly a determined tomboy, at one point took the name “Jimmy.” In 1921,
while visiting their mother’s friend Mary (Auntie) Towle in Greenwich Village, Hepburn
found her adored older brother, Tom, dead, a possible suicide.
She was admitted to her mother’s alma mater, Bryn Mawr College, in 1925.
In her junior year (1927), she performed in The Truth About Blayds by A.A. Milne
(although there are no materials in the papers on this production) and in her senior year
(1928), she played Pandora in The Woman in the Moone by John Lyly (a.k.a. Lilly) in the
college’s May Day celebration.
Around the time of her 1928 graduation from Bryn Mawr, Hepburn was hired by
Edwin H. Knopf for his stock company in Baltimore. She played small parts in The
Czarina and The Cradle Snatchers. Also in the company were Mary Boland, Kenneth
MacKenna, Dudley Digges, and Robert Montgomery. Through Kenneth MacKenna
(who wrote a letter of introduction), Hepburn began studying with acting teacher Frances
Robinson-Duff.
Later that summer, Knopf’s company produced The Big Pond by George Middleton and
A.E. Thomas in Great Neck, New York. Hepburn was fired after only one performance.
She made her Broadway debut as a hostess under the name “Katherine [sic] Burns” in
Night Hostess by Philip Dunning, which opened at the Martin Beck Theatre on
September 12, 1928. That same year, Hepburn also understudied Hope Williams in the
role of Linda Seton in Philip Barry’s play, Holiday. (Hepburn would later play the role in
the film.) She also played Veronica Sims in These Days by Katharine Clugston, opening
at the Cort Theatre on November 12, 1928. On December 12th, Hepburn married Ludlow
Ogden Smith, from whom she was divorced in 1934.
Between 1929 and 1931, Hepburn toured and performed in several plays such as
Death Takes a Holiday by Alberto Casella (from which she was fired in 1929), Art and
Mrs. Bottle by Benn Levy (1930), and The Animal Kingdom by Philip Barry (1931). She
also understudied Eunice Stoddard as Katia in A Month in the Country (1930), and
performed in summer stock in Stockbridge, Massachusetts in 1930 (although there are no
materials in the papers on these productions), as well as in Ivoryton, Connecticut in 1931.
Hepburn’s success as Antiope in The Warrior’s Husband by Julian F. Thompson,
which opened Mar. 11, 1932 at the Morosco Theatre won her a screen test in Hollywood,
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Katharine Hepburn Papers
leading her to her first role in A Bill of Divorcement and movie stardom. The film was
directed by George Cukor, who became one of Hepburn’s closest friends. (Also around
this time, Hepburn was represented by noted agent Leland Hayward.) However,
throughout her career, Hepburn would always return to the legitimate stage.
After winning her first (of four) Academy Awards for Morning Glory (1933),
Hepburn returned to the stage in the Jed Harris production of The Lake by Dorothy
Massingham and Murray MacDonald at the Martin Beck Theatre. The play was
lambasted by the critics and Hepburn did not return to the stage until she toured in Helen
Jerome’s adaptation of Jane Eyre by Charlotte Brontë in 1936-1937. The tour was
produced by the Theatre Guild. In 1939, The Philadelphia Story triumphantly reunited
Hepburn with both Philip Barry and the Theatre Guild. Shirley Booth, Joseph Cotten,
and Van Heflin co-starred. Hepburn next returned to the stage in another Philip Barry
play, Without Love, which opened on Nov. 10, 1942 at the St. James Theatre and costarred Elliot Nugent and featured Audrey Christie. The 1942 film Woman of the Year
also marked the beginning of Hepburn’s professional (and personal) partnership with
Spencer Tracy.
At the urging of the Theatre Guild’s Lawrence Langner, Hepburn took on the
challenge of playing Rosalind in Shakespeare’s As You Like It, which opened at the Cort
Theatre on Jan. 26, 1950. William Prince and Cloris Leachman were also in the cast.
After playing to sold out houses, Hepburn took the play on tour and kept a record
(sometimes humorous) of her travels throughout the U.S. After filming The African
Queen, she toured England in The Millionairess by George Bernard Shaw, opening at
London’s New Theatre on June 27, 1952 and then at Broadway’s Shubert Theatre on
Oct. 17 of that same year. Hepburn’s costumes were by Pierre Balmain. Cyril Ritchard
and Robert Helpmann were also in the cast directed Michael Benthall. Benthall and
Helpmann began a close friendship with Hepburn that lasted until their deaths.
In 1955, with Robert Helpmann, she toured Australia with the Old Vic Company in
three Shakespeare plays: The Merchant of Venice, The Taming of the Shrew, and
Measure for Measure. Several scrapbooks in the papers document the tour.
For two summers (1957 and 1960), Hepburn performed at the fledgling American
Shakespeare Festival Theatre in Stratford, Connecticut. In 1957, she appeared with
Morris Carnovsky in The Merchant of Venice and with Alfred Drake in Much Ado About
Nothing, the latter production touring after the summer season. She performed in Twelfth
Night and in Antony and Cleopatra with Robert Ryan as Antony (1960).
Despite her initial reluctance, Hepburn made her musical debut as Coco Chanel in
Coco, the musical by Alan Jay Lerner and André Previn in 1969, at the age of sixty-two.
She also toured with the show after its Broadway run. Hepburn would repeat this process
for her last two Broadway productions—A Matter of Gravity by Enid Bagnold (1976)
and The West Side Waltz by Ernest Thompson (1981)—but also doing pre-Broadway
tours for these two shows. Her work in Coco and The West Side Waltz earned her two
Tony nominations.
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Katharine Hepburn Papers
In her later years, Hepburn continued to perform in films and on television, but she
returned to the stage once more to introduce celebrity cast members at an Irish Repertory
Theatre benefit performance of Yeats: A Celebration! at the Booth Theatre, June 6, 1994.
Katharine Hepburn died at her home in Old Saybrook, Connecticut on June 29,
2003 at the age of ninety-six.
Sources
Contemporary Theatre, Film, and Television, Volume 5. Detroit, MI : Gale Research,
Co., 1988.
James, Caryn. "Katharine Hepburn, Spirited Actress, Dies at 96." New York Times [New
York, N.Y.] 30 June 2003, A1.
"Katharine Hepburn." American Decades. Gale Research, 1998.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale.
2007. http://galenet.galegroup.com/servlet/BioRC
Chronology of Selected Events in the Life of Katharine Hepburn
1907
Katharine Houghton Hepburn born May 12, Hartford, Connecticut
1928
Performs in The Woman in the Moone and receives degree from Bryn Mawr
College
Performs with Edwin H. Knopf Stock Company, Baltimore, Maryland
Performs in The Big Pond for Knopf in Great Neck, New York and is fired
after one performance
Makes Broadway debut under “Katherine Burns” in Night Hostess, Sept. 12,
Martin Beck Theatre
Performs in These Days, Nov. 12, Cort Theatre
Understudies Hope Williams in Holiday, Plymouth Theatre
Marries Ludlow Ogden Smith, Dec. 12
1929
Tours in Death Takes a Holiday and is fired before Broadway opening
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Katharine Hepburn Papers
1930
Understudies Eunice Stoddard in A Month in the Country, Guild Theatre
Performs in summer stock at The Berkshire Playhouse, Stockbridge,
Massachusetts
Performs in Art and Mrs. Bottle, Nov. 18, Maxine Elliott’s Theatre
1931
Performs in summer stock in Ivoryton, Connecticut
Performs in The Animal Kingdom and is fired before Broadway opening
1932
Opens in The Warrior’s Husband, Mar. 11, Morosco Theatre
Performs in The Bride the Sun Shines On, summer stock, Ossining, New York
1933
Opens in The Lake, Dec. 26, Martin Beck Theatre
1934
Divorces Ludlow Ogden Smith
1936
Tours in Jane Eyre, Dec. – Apr. 1937
1939 Opens in The Philadelphia Story, Mar. 28, Shubert Theatre, New York,
then tours (1940)
1942 Opens in Without Love, Nov. 10, St. James Theatre, New York
1950 Performs in As You Like It, Jan. 26, Cort Theatre, then tours
1952 Opens in The Millionairess, June 27, New Theatre, London;
then Oct. 17, Shubert Theatre, New York
1955 Tours Australia with Old Vic Theatre Company in The Merchant of
Venice, The Taming of the Shrew, and Measure for Measure
1957 Performs in The Merchant of Venice and Much Ado About Nothing,
American Shakespeare Festival, Stratford, Ct., then tours with
Much Ado About Nothing (1958)
1960 Performs in Twelfth Night and Antony and Cleopatra, American Shakespeare
Festival, Stratford, Connecticut
1969 Opens in Coco, Dec. 18, Mark Hellinger Theatre, then tours (1970-1971)
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Katharine Hepburn Papers
1976 Opens in A Matter of Gravity, Feb. 3, Broadhurst Theatre (after pre-Broadway
tour), then tours (1976-1977)
1981 Opens in The West Side Waltz, Nov. 19, Ethel Barrymore Theatre (after preBroadway tour), then tours (1982)
2003 Katharine Houghton Hepburn dies, June 29, Old Saybrook, Connecticut
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Katharine Hepburn Papers
Scope and Content Note
The Katharine Hepburn papers consist of correspondence, scripts, photographs,
scrapbooks, programs, promptbooks, contracts, financial papers, production materials,
notebooks, sheet music, and clippings documenting the theatrical career and related
activities of the legendary actress from the late 1920s through the mid-1990s. A few
items from radio, television, and motion picture performances are also included, as well
as several awards, costume designs, window cards, and books.
There are also a number of materials from her files relating to the theater, such as
programs for performing arts events she attended, and memorabilia relating to 19th and
early 20th century actors such as Maude Adams and Julia Dean. Copies of Frances
Robinson-Duff’s acting lessons, Alfred Dixon’s vocal drills (kept in a leather folio with
the initials “S.T.” engraved on it), as well as extensive research materials for productions,
attest to Hepburn’s professionalism.
The star-studded correspondence is mostly related to productions in which Hepburn
appeared, but also includes general correspondence and solicitations regarding potential
appearances, as well as correspondence from fans and aspiring theater professionals.
There is a significant amount of correspondence from Hepburn’s close friends and
theatrical associates Constance Collier, Michael Benthall, and Robert Helpmann.
Although there are numerous letters and drafts of letters from Hepburn, many of her
replies are handwritten directly on the correspondence.
Post-1950 productions are more thoroughly documented than earlier shows.
Hepburn’s handwritten notes and notebooks on blocking, script changes, casting, and
other aspects of production provide valuable insight into her work process. There are
also a number of sketches by Hepburn done on scripts and notes. Of particular note is
her often-humorous history of the As You Like It tour (1950-1951) giving details for each
venue played, as well as Hepburn’s impressions.
Congratulatory telegrams, notes, and floral cards abound from theater and film
notables and other celebrities such as Lauren Bacall, Stephen Vincent Benet, Humphrey
Bogart, George Cukor, Nancy Davis [Reagan], John Ford, Judy Garland, Charlton
Heston, Joan Crawford, Lillian Gish, Ruth Gordon and Garson Kanin, Helen Hayes, Van
Johnson, Corliss Lamont, Vivien Leigh and Laurence Olivier, Ethel Merman, Peter
O’Toole, Michael Redgrave, and Ralph Richardson, to name only a few.
The Production files also contain several telegrams and floral cards from Spencer
Tracy (using the alias “Pot”) sent to Hepburn during the London run of The Millionairess
(1952). Hepburn’s As You Like It (1950) fan mail contains a handwritten note from
“Howard” [Hughes], probably; throughout the papers, several other telegrams and floral
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Katharine Hepburn Papers
cards sent under aliases such as “The Boss,” “Dan,” and “Stephen” are possibly also from
Hughes. A number of telegrams are “Unsigned.”
The papers are rich in numerous versions of scripts for productions in which
Hepburn appeared. There are also scripts sent to her by professional colleagues such as
Zöe Akins, Philip Barry, and Chester Erskine. Several of the scrapbooks in the papers
document Hepburn’s Australian tour with the Old Vic Company in 1955; one other, a gift
from the Theatre Guild, contains historical lithographs of As You Like It.
Most of the photographs are production-related, but a small number of candid
photos of Hepburn, as well as photos of her friends and associates, such as Michael
Benthall, Constance Collier, and Robert Helpmann, are also found in the papers.
Oversized materials include artwork, photographs, research materials, window
cards for A Matter of Gravity and The West Side Waltz, costume designs, and a 1906
souvenir of a British production of Cymbeline. Of special note are proclamations of
appreciation by the American Shakespeare Festival cast of Much Ado About Nothing
(1957-1958), and the Coco orchestra members (ca. 1970).
Organization
The collection is organized into seven series series and two sub-series.
They are:
Series I:
Correspondence
Sub-series 1 – General
Sub-series 2 – Solicitations
Series II:
Productions
Series III:
Scripts
Series IV:
Subject Files
Series V:
Photographs
Series VI:
Scrapbooks
Series VII:
Oversized
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Katharine Hepburn Papers
Series Descriptions
Series I: Correspondence, 1932 – 1994 and undated
10.5 boxes
This series is comprised of correspondence unrelated to a specific production and
includes correspondence from friends, fans, and professional associates and
organizations. The correspondence is mostly to Hepburn, but often contains her
handwritten reply on the letter or envelope. Production-related correspondence from
individuals and organizations is filed with the specific production.
Sub-series 1 – General
Sub-series 2 - Solicitations
Sub-series 1 – General, 1932 – 1994 and undated
7 boxes
Arrangement: Alphabetical
Included in this series is general correspondence from many notables (past and present),
such as Eileen Atkins, Hugh (“Binkie”) Beaumont, Zöe Caldwell, Glenn Close, Betty
Comden and Adolph Green, Joan Crawford, Philippe de Rothschild, Lynn Fontanne,
Meriel Forbes-Robertson, John Gielgud, Leland Hayward, Arthur Hopkins, John
Houseman, Josh Logan, Ralph Richardson, Cyril Ritchard, Patricia Routledge, Kevin
Spacey, Robert Whitehead, Ella Winter, and Stephanie Zimbalist. Many of these are
brief notes. There is one telegram ca. Mar. 13, 1959 probably from Spencer Tracy using
the nickname “Pot.”
Correspondence from several of Hepburn’s close friends such as Michael Benthall,
Constance Collier, and Robert Helpmann, spans several decades and is often filled with
news of the performing arts world. Several letters from the three mention Spencer Tracy.
Letters and papers relating to Benthall’s and Helpmann’s deaths (such as obituaries and
memorial service programs) are also included. Of particular note is a letter from Collier,
sometime in 1954, discussing dinner with “The Chaplins.”
Professional organizations and associations include Actors’ Equity Association, the
Actors’ Fund of America, and the Actors Studio. Theatre Guild general correspondence
spans the years 1938 through 1994. Of note is an Aug. 28, 1991 letter from Philip
Langner containing a photocopy of a 1939 letter from Phyllis Langner stating how
Hepburn had saved the Theatre Guild. Also of note is correspondence from the
American Academy of Dramatic Arts regarding the Spencer Tracy Scholarship, including
letters from the recipients.
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Katharine Hepburn Papers
Sub-series 2 – Solicitations, 1933 – 1994 and undated
2.5 boxes
Arrangement: Alphabetical
This series includes a variety of requests ranging from letters seeking Hepburn’s
participation in productions to those asking her to serve as an honorary board member of
a regional theater. There are also several requests regarding possible awards, which
Hepburn usually declined.
Correspondents range from aspiring playwrights to established theater professionals such
as Guy Bolton, Hume Cronyn, A.R. Gurney, director Jules Dassin, Daniel Frohman,
James Goldman, producers Richard Barr, Frederick Brisson, Alexander Cohen, Ellis
Rabb, and Diana Rigg.
Theaters represented include the Cleveland PlayHouse [sic], Goodspeed Opera House,
Ivoryton Playhouse, Westport Country Playhouse, and several British theaters and
producers.
At the request of the Eugene O’Neill Foundation at Tao House, Hepburn wrote to the San
Francisco department store, Gumps, which was in possession of the bed. Her letter to
Gumps succeeded in obtaining the bed (a Chinese opium table) for the foundation in
northern California. Of particular note is a handwritten letter (ca. 1959-1960) from
Pamela Travers, telling Hepburn that she was the author’s only choice to play Mary
Poppins on television.
Series II: Productions, 1928 – 1994 and undated
31.5 boxes
Arrangement: Alphabetical
This series comprises both productions (including a few for motion pictures and
television) on which Hepburn worked, and several projects which never came to fruition.
Included are correspondence, scripts, promptbooks, contracts, financial papers,
Hepburn’s notes on various aspects of production, production materials, research
materials, music, programs, and clippings covering some forty productions and projects.
With few exceptions, virtually Hepburn’s entire career in the theater is encompassed,
from one of her first performances as Pandora in The Woman in the Moone at Bryn Mawr
in 1928, to her 1994 appearance introducing the all-star cast of Yeats: A Celebration! at
an Irish Repertory Theatre benefit. Productions following Hepburn’s 1932 success as
Antiope in The Warrior’s Husband by Julian F. Thompson, are (predictably) the most
thoroughly-documented.
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Katharine Hepburn Papers
Throughout the Production Files, there is a large number of congratulatory telegrams,
letters, and floral cards from theater and film stars, as well as other notables including
Lauren Bacall, Stephen Vincent Benet, Jack Benny, Irving Berlin, Humphrey Bogart,
Elizabeth [Taylor] and Richard Burton, George Cukor, Nancy Davis [Reagan], Margot
Fonteyn, Meriel Forbes-Robertson, John Ford, Judy Garland, Betsy [Drake] and Cary
Grant, Charlton Heston, Joan Crawford, Lillian Gish, Ruth Gordon and Garson Kanin,
Helen Hayes, George Jessel, Van Johnson, Corliss Lamont, Vivien Leigh and Laurence
Olivier, Ethel Merman, Dina Merrill, Peter O’Toole, Cole Porter, Michael Redgrave,
Ralph Richardson, and Cliff Robertson. There are also letters from Hepburn’s numerous
fans. Hepburn’s replies are usually handwritten on the letter or telegram.
The Millionairess London correspondence files contain several telegrams and floral cards
from Spencer Tracy under the alias “Pot.” Also of note in The Millionairess
correspondence is a letter from Lawrence Langner relating a conversation between
George Bernard Shaw and Armina Marshall on Katharine Hepburn (June 27, 1950).
There is also a handwritten note, probably from Howard Hughes, in the As You Like It
(1950) fan mail. The Jane Eyre tour correspondence (and other production
correspondence) contains several other telegrams and floral cards from “The Boss,”
“Dan,” and “Stephen,” possibly also from Hughes.
The American Shakespeare Festival correspondence illuminates how fundamental
Hepburn’s performances there in 1957 and 1960 were to the theater’s development. Of
special interest is a letter (Sept. 2, 1959) from the American Shakespeare Festival’s
Acting Company protesting John Houseman’s resignation; the actors included Edward
Asner, Barbara Barrie, Sada Thompson, Pirie MacDonald, Morris Carnovsky, Nancy
Marchand, Dino Narizzano, and Inga Swenson. Also of note is a costume design by
Rouben Ter-Arutunian for Antony and Cleopatra (1960).
Hepburn’s handwritten notes and notebooks offer a unique insight into her working
process as an actress, as well as her opinions. Her “History of the As You Like It Tour”
(1950-1951) documents specifics, such as stage dimensions and financial figures, for
each tour stop, but also chronicles Hepburn’s sometimes humorous exploits and
impressions. (For example, Hepburn’s description of her arrest for speeding in Kansas.)
There is also a number of research materials, especially on Coco Chanel. Papers for later
productions, including Coco (1969), A Matter of Gravity (1976), and The West Side
Waltz (1981) include correspondence to from the authors and numerous versions of
scripts, providing a window into a production’s evolution.
Numerous telegrams, cards, and letters from Hepburn’s fellow cast members and her
crews give testament to the great regard they had for her. Some twenty years after Coco,
members of the chorus requested a reunion (held at Hepburn’s home) and thanked her for
treating them as equals. (These two letters are filed with General Correspondence.)
The papers contain a number of items for projects with which Hepburn was associated,
but in which she probably never performed, including Divorce Me, Dear by Katherine
Roberts (1931), The Loved and Envied by Enid Bagnold (ca. 1970s), A Man and His Wife
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Katharine Hepburn Papers
(a.k.a. Winston and Wife) by Guy Bolton (1972-1974), the musical Miss Moffat (1973)
and the motion picture The Tudor Wench by Elswyth Thane Beebe (1934).
There are also a few papers relating to Hepburn’s radio work on the Theatre Guild on the
Air, as well as to her television appearance on Night of 100 Stars III (1990). It is unclear
if background material (1961 and undated) for The Corn Is Green is related to Hepburn’s
1979 television film directed by George Cukor.
Series III: Scripts, 1940 – 1995 and undated
2.25 boxes
Arrangement: Alphabetical
This series contains scripts presumably sent to Hepburn. There are several scripts by
colleagues such as The Human Element (ca. 1948) and I Am Different (adaptation)
(undated) by Zöe Akins, Liberty Jones (ca. 1940) and Second Threshold (ca. 1951) by
Philip Barry, and But When All’s Said and Done (1983) by Penelope Gilliatt. Catalina
on a Clear Day (one of four plays found in the papers by Chester Erskine) appears to
have been intended as a vehicle for Hepburn, as described by Erskine in his letter of May
27, 1958 (filed in General Correspondence).
There is also a script for a one-woman show about Hepburn, Kate: A Celebration by
Don Hayes (1993).
Series IV: Subject Files, ca. 1854 – 1997 and undated
5 boxes
Arrangement: Alphabetical
This series spans materials from awards and related correspondence, to theatrical
memorabilia and includes numerous programs, mostly for theater productions
presumably attended by Hepburn. There are copies of acting and vocal lessons by Alfred
Dixon and Frances Robinson-Duff. Awards (unrelated to a production) include
Hepburn’s induction to the Theater Hall of Fame (1974 and 1979), and the Uptown
Musicians Citation of Honor (1970). Among several books included in the papers are
Harlequinade: The Story of My Life by Constance Collier (1929), The American
Shakespeare Festival: The Birth of a Theatre by John Houseman and Jack Landau
(1959), and The Importance of Wearing Clothes by Lawrence Langner (1959).
There is also a letter of introduction for Hepburn written to George C. Tyler by Dave
Wallace (ca. 1928-1930), as well as a poem, “Kate,” by Steven Honig (1982).
Hepburn’s own writings include the tribute to Lawrence Langner read by Cyril Ritchard
at Langner’s memorial service Jan. 10, 1963, as well as the manuscript of her plea to save
the Morosco Theatre (ca. 1982). The numerous programs include a Ballet Russe de
Monte Carlo souvenir program inscribed by Sol Hurok to “the greatest actress of today –
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Katharine Hepburn Papers
and tomorrow!” Theatrical memorabilia includes programs and souvenirs for actresses
Maude Adams, Constance Collier, Julia Dean, and Ellen Terry.
Of particular note is the program for the Spencer Tracy Tribute at the Majestic Theatre,
Mar. 3, 1986.
Series V: Photographs, 1908 – 1995 and undated
5.25 boxes
Arrangement: Alphabetical
This series contains photographs, slides, and negatives mostly from Hepburn’s theatrical
productions, from The Big Pond (1928), one of her earliest ventures, to The West Side
Waltz (1981), her last major stage performance. Most of the photos are production and
publicity shots taken by noted theatrical photographers such as White Studio, Vandamm
Studio, Friedman-Abeles, Angus McBean, Martha Holmes, Will Rapport, and Richard
Tucker, but there are also some snapshots and candids.
In addition to production and publicity photos, negatives from the Old Vic Australian
tour (1955) document Hepburn’s and Robert Helpmann’s travels. (Additional photos
may be found in the three scrapbooks of the tour.) Photos from the American
Shakespeare Festival include numerous production and publicity photos, but also several
candids of Hepburn, and snapshots of “Kate’s Cottage” and the surrounding area. Coco
photos (1969-1970) include production and rehearsal photos, as well as photos
documenting the recording of the original cast album.
There are also some general publicity photos of Hepburn, as well as photos of other
projects such as the album covers of Ben Bagley’s Cole Porter Revisited, Vol. IV (ca.
1979) and Ben Bagley’s Contemporary Broadway Revisited (1985).
Photos of some Hepburn friends and associates such as Constance Collier, Robert
Helpmann, Arthur Hopkins, Lawrence Langner and Armina Marshall, and Hope Willams
can also be found in the papers. Michael Benthall photos include personal childhood
photos of him and of his family estate.
5
Katharine Hepburn Papers
Series VI: Scrapbooks, 1950 – ca. 1969
5 boxes
Arrangement: Alphabetical
This series consists of six scrapbooks, three of which document Hepburn’s 1955 Old Vic
Australian tour. Clippings and photographs in these three scrapbooks cover both the
three Shakespeare plays (The Merchant of Venice, The Taming of the Shrew, and
Measure for Measure) as well as Hepburn’s activities. One clipping (July 18, 1955)
mentions Hepburn phoning Spencer Tracy daily.
The As You Like It scrapbook contains historical images of other productions; the
inscription from “Terry – Lawrence – Armina” and date, Jan. 26, 1950, indicate it was
probably an opening night gift to Hepburn from the Theatre Guild.
Of particular note is the boxed photo album of the London production of The
Millionairess (1952) made (and signed) by noted British photographer Angus McBean
for Hepburn. (There are also some loose photos from the album.)
There is also one general scrapbook (ca. 1969) containing mostly clippings of Hepburn,
photos, poetry, and captions, but also material from Coco and The Madwoman of
Chaillot.
Series VII: Oversized, 1906 – 1981 and undated
7 boxes
Arrangement: By Format
Included in this series are photographs, costume designs, artwork, testimonials to
Hepburn, research materials, window cards, and theatrical memorabilia. There are
numerous enlargements of production and publicity photos, as well as photos of costume
sketches and research materials. Of particular note is a signed Cecil Beaton photo of
Hepburn (ca. 1960s) and Hepburn’s annotated sheets of Alfred Dixon vocal exercises
housed in a leather folio with “S.T.” engraved on it.
Costume designs include one for the 1955 Old Vic Australian tour production of The
Taming of the Shrew and is signed by Ruth Dolgov (although Peter Rice is listed as
scenery and costume designer on the program); the other is by Muriel King for an
unidentified production, possibly a film (1936).
Also of note is a caricature of As You Like It by cast member Jan Sherwood, as well as a
limited edition print of a Hepburn painting for The Fund for Animals. There is also an
incomplete Coco scrapbook, probably belonging to Michael Benthall (1969–1970).
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Katharine Hepburn Papers
Series I: Correspondence, 1932 – 1994 and undated
Sub-series 1 – General, 1932 – 1994 and undated
Box 1
F. 1
Actors’ Equity Association, 1940 (Includes two copies of form letter to
senators to restore Federal Theatre to the APA Appropriations Bill.)
F. 2
Actors’ Fund of America, 1970 – 1994 (See also Production files.)
1970, 1980 – 1990 (Includes handwritten draft of note to Vincent Vitelli
from Hepburn, 1990.)
F. 3
F. 4
1991 – 1994
Actors Studio, 1952, 1993, and 1994 (Includes thank you letter signed by
Paul Newman with program for Celebrity Auction at Christie’s, Sept. 20,
1993; solicitation letter signed “Gadge,” Aug. 8, 1952, and reply from
Dr. Hepburn, Aug. 20, 1952.)
F. 5
F. 6
Aherne, Brian (Probably), 1936
American Academy of Dramatic Arts, 1987 – 1991 (Includes letter
from George Cuttingham re: Spencer Tracy Scholarship recipients with
Hepburn note on bottom, Aug. 25, 1987, letters from recipients, and
promotional booklet on AADA.)
F. 8
F. 9
American Shakespeare Festival Theatre and Academy, 1963 –
1992
1963 – 1981 (Includes appeal letter from Hepburn.)
1991 – 1992 (See also Burke, Louis correspondence.)
Anhalt, Lawrence J., 1933 – 1935 and ca. 1930s (Includes incomplete
F. 10
Atkins, Eileen, 1991 Apr. 26 (Contains handwritten thank you from Atkins
F. 11
“A,” 1974 - 1976
Bagnold, Enid, 1968 – 1981
1968 – 1974 and undated (Includes copy of note from Lynn Fontanne
F. 7
clippings on Ivoryton Playhouse, ca. 1935.)
for Hepburn’s attending A Room of One’s Own twice.)
F. 12
mentioning Hepburn, Nov. 8. 1974; see also A Matter of Gravity.)
F. 13
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19
Death, 1981 (Includes note from David Eichler with copy and transcript of
letter from Laurian [Jones], July 17, 1981, and three items re:
memorial service, including note from Irene Mayer Selznick, [1981].)
Bailey, James, 1950 and ca. 1953 (Bailey mentions The Millionairess in
letter, Apr. 30, 1950.)
Barr, Stephen, 1960 May 28 (Includes letter with handwritten music for
madrigal written for Hepburn by Barr.)
Beaumont, Hugh (“Binkie”), 1952 – ca. 1969 (See also The
Millionairess.)
1952 – 1953
1954 – 1958
1967 – ca. 1969
Benthall, Michael, 1950 - 1975
1950 Mar. – 1950 May (Mentions As You Like It and The Millionairess
in several letters.)
F. 20
1951
Sept. – 1951 Oct.
7
Katharine Hepburn Papers
F. 21
Nov. and undated 1951 (Includes telegrams from Benthall and
Robert Helpmann, Nov. 29, 1951.)
F. 22
F. 23-24
F. 25-26
F. 27
1952
Oct.
Nov. (Includes letter from “Ruth,” Nov. 24, 1952.)
Dec.
ca. 1952 – 1953 (Includes pencil sketch (on foolscap) of trees with
Benthall’s name.)
F. 28
F. 29
F. 30
F. 31
F. 32
1953
Jan.
Feb.
Mar.
Apr. – May
June – Aug. (Includes two clippings on Edinburgh Festival opening,
July 1953.)
F. 33
Oct. – Dec.
Box 2
F. 1
1954
Jan. – Sept. (Includes telegram from Benthall and Robert Helpmann,
Sept. 22, 1954.)
F. 2
F. 3
F. 4
F. 5
F. 6
F. 7
F. 8
F. 9
F. 10
F. 11
F. 12
Nov. – Dec. and undated 1954
1955
Jan. - May
June
July – Aug.
Oct. – Nov. and undated 1955
1956
1957
1958
1959 – 1961 (Includes letter from Sheila Stead, Mar. 28, 1960.)
1963
1964 (Includes Royal Academy of Dramatic Art “Entrance Test by Tape
Recording” requirements with letter mentioning “Kathy Grant,” Dec.
9, 1964.)
F. 13
F. 14-15
F. 16
F. 17-18
F. 19
F. 20
F. 21
F. 22
1965
1966
1967
1968
1970 and ca. 1970
Jan. (Mentions Coco and The Trojan Women in correspondence.)
Apr. – June (Mentions Coco in correspondence.)
Sept. – Oct. and ca. 1970 (Mentions Coco in correspondence.)
1971 (Mentions Coco in correspondence.)
8
Katharine Hepburn Papers
F. 23
F. 24
F. 25
F. 26
F. 27-28
1972 (Contains two items.)
1973 (Includes two letters from Benthall; other correspondence from Sheila
Stead (Benthall’s assistant), holiday card from Benthall family with
photo of unidentified child.)
ca. 1973 – 1974 (Includes letter from Benthall family member (signature
illegible) and Punch clipping, Nov. 14, 1923.)
1974 and ca. 1974 (Includes two letters and telegram from Benthall;
other correspondence from Sheila Stead.)
Death, 1974 - 1975
1974 (Includes correspondence from Sheila Stead, Jane Edgeworth,
obituaries, correspondence re: memorial service and program,
Dec. 17, 1974, handwritten draft of Hepburn condolence note.)
F. 29
1975 (Includes correspondence from Sheila Stead.)
Box 3
F. 1
F. 2
F. 3
F. 4
Bittner, Jack, 1957 Sept. 10
Brooks, David (Photographer), 1992 Aug. 2 (Includes letter with
anecdote re: photo shoot for American Shakespeare Festival production
of Twelfth Night, 1957.)
Butterfield, Catherine, 1992 Dec. 1 (Includes letter, envelope with
Hepburn’s handwritten reply and clippings re: Joined at the Head.)
“B,” 1933 - 1994
Baker – Beary, 1940 – 1982 (Includes note from Margaret Barker,
1940.)
F. 5
Blaker, - Bovet, 1933 – 1993 (Includes two notes from Robert L.
F. 6
Brandman – Burbage, 1933 – 1994 (Includes correspondence from
Borod; see also Productions.)
F. 7
F. 8
F. 9
F. 10
F. 11
Andreas Brown with Hepburn’s handwritten reply on letter, Jan. 28,
1983; Joseph Bryan III telegram re: “story,” Dec. 6, 1933.)
Caldwell, Zöe, 1982 Mar. (See also Robert Whitehead correspondence and
Production files.)
Chard, Liam, 1994 Sept. 11
Clarke, David U., 1975, 1978
Close, Glenn, 1984 Feb. 29
Coco Chorus, 1992 (Includes letters from Karin Baker and Maralyn [sic]
Miles re: reunion with Hepburn.)
Collier, Constance, 1935 – 1955 and undated (See also Production
files.)
F. 12
F. 13
F. 14
F. 15
F. 16
F. 17
F. 18
1935
1950
Jan. – Oct. (Includes letter to Hepburn’s mother, Feb. 21, 1950.)
Nov. – Dec.
ca. Nov. – Dec.
1951
Jan.
Feb.
May (Includes letter dated May 29-June 1; mentions Spencer Tracy in
correspondence.)
F. 19
June (Mentions Spencer Tracy in correspondence.)
9
Katharine Hepburn Papers
F. 20
F. 21
July
Oct. (Includes correspondence mentioning Judy Garland at the Palace
F. 22
Nov. (Includes letter from Michael Benthall; “To Constance from
and many other theater and film notables.)
Michael Benthall” handwritten by Hepburn on letter of Nov. 5,
1951.)
F. 23
F. 24
F. 25
F. 26
F. 27
Dec. (Mentions Spencer Tracy in correspondence.)
1952
Jan. – Mar.
Apr. (Includes reviews of Candida with Olivia de Havilland.)
May – Oct. and 1952 undated
1953 and ca. 1953 (Includes letter from Michael Benthall, Feb. 16, 1953;
mentions Spencer Tracy in correspondence.)
F. 28
F. 29
F. 30
F. 31
F. 32.
F. 33
1954
Feb.
Mar. ca. 6 - 14
Mar. 18 – 31 (Includes New York Times clipping re: Corliss Lamont.)
Apr.
undated
General
Letter to Spencer Tracy (Includes handwritten note thanking him
and commenting on how well he looks.)
F. 34
F. 35
F. 36
1955 Apr. 16 – 17 and undated
Collier, Constance and Wilbourn, Phyllis et al, 1951 – 1954
Comden, Betty and Green, Adolph, 1970 Apr. 9 (Includes thank you
note handwritten by Comden; see also Coco.)
F. 37
F. 38
Compton, Fay, 1954 Apr. 18
Crawford, Joan, 1970 Feb. 10 (Includes note inviting Hepburn to lunch;
F. 39
Crenshaw, Lizzie, ca. 1930s (Includes handwritten letter from Hepburn
F. 40
“C,” 1975, 1991 (Includes note from Richard Coe to “My Dears,” Aug. 24,
F. 41
Davidson, Gordon, 1969, 1994 (Includes typed reply from Hepburn, Nov.
F. 42
Davis, Allan, 1973 - 1977
De Rothschild, Philippe, 1952 July 4
Dixon, Alfred, 1955 Nov. 14
“D,” 1975 and 1992
Erskine, Chester, 1958, 1971 (See also Production files and Scripts.)
Evans, Clifford, 1954
“E,” 1993 Oct. 8
see also Coco fan mail, Apr. 23, 1970.)
relative.)
1991; see also Productions.)
16, 1994; see also Production files.)
F. 43
F. 44
F. 45
F. 46
F. 47
F. 48
Box 4
F. 1
A Few Good Men Company, 1989 Dec. 28 (Includes thank you card
signed by company.)
10
Katharine Hepburn Papers
F. 2
Fontanne, Lynn, 1952, 1977 (Includes Alfred Lunt obituary, draft of
condolence note by Hepburn, note to Lunt from Fortnum & Mason re:
parcel from Hepburn, July 23, 1952; see also Production files.)
F. 3
Forbes, Bryan, 1969
Forbes-Robertson, Meriel, 1952 – 1967 (See also Ralph Richardson
correspondence.)
F. 4
F. 5
F. 6
F. 7
F. 8
F. 9
1952 - 1954
1961, 1967
“F,” 1971, 1989 (Includes telegram from Dot Furness, Feb. 24, 1971.)
Gielgud, John, undated (Includes two notes.)
Gielgud, Kate Terry, 1954 Apr. 3 (Includes one notecard.)
G, 1961 – 1980 (Includes correspondence from John Gavin, Will Geer, and
Morton Gottlieb.)
F. 10
F. 11
Harold Clurman Theatre, 1984, 1985
Harris, Jed, 1933 Apr. – 1933 May
1933
Apr. (Includes telegrams re: The Green Bay Tree and possibly The
Lake, two telegrams signed “Pflugg” and Pflaugg;” see also
Production files.)
F. 12
F. 13
May (Includes telegram with Hepburn reply on bottom, May 4, 1933.)
Hayward, Leland, 1933 Apr. – 1933 Sept. (Includes several telegrams
re: Jed Harris; see also Production files.)
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19
Helpmann, Robert, 1952 - 1991
1952
ca. 1952 – 1953 (Includes one clipping.)
1953
Jan.
Feb.
Mar. – June
July – Sept. (Includes two clippings re: film of The Millionairess and
get well telegram from Helpmann and Michael Benthall.)
F. 20
F. 21
F. 22
F. 23
F. 24
F. 25
F. 26
F. 27
F. 28
F. 29
Oct. – Dec.
1954
Jan.
Aug.
Sept. – Oct. and undated
1956
Jan. – May
June – July
Aug., ca. Dec.
1957
1958
1959 and 1961 – 1962 (Includes letter to Helpmann from Reginald
Long, May 27, 1959.)
11
Katharine Hepburn Papers
F. 30
F. 31
F. 32
F. 33
1963
1963 – 1964 (Mentions Spencer Tracy in undated letter.)
1964 (Includes Australian Ballet program and clippings.)
1964 – 1965 (Includes 1964 letter with program and description re: The
Display, ballet by Helpmann dedicated to Hepburn.)
Box 5
F. 1-2
F. 3-5
F. 6-7
ca. 1964 - 1965
1966
1967 (Includes floral card and letter to Helpmann from Hugh Pickett re:
Vancouver Hotel and praise of Hepburn, Mar. 27, 1967; refers to
Guess Who’s Coming to Dinner and Coco, undated.)
F. 8-9
F. 10-11
F. 12-13
1968 (Includes clippings.)
1969 – 1970
1970 (Includes letter from Peter Bowen re: Daisy Bates, clipping and
telegram re: documentary on Helpmann with Hepburn handwritten
reply on verso; note from Sheila Helpmann thanking Hepburn for
condolences on mother’s death, Apr. 18, 1970.)
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19
F. 20
1971
ca. 1973 - 1974
1974
1975 (Includes correspondence re: This Is Your Life (Helpmann).)
ca. 1975
1975 – 1976 (Includes typed poem to Helpmann by Hepburn.)
1976 (Includes two notes from Sheila [Stead], probably, July 28, Aug. 10,
1976.)
F. 21
F. 22
F. 23
F. 24
F. 25
F. 26
ca. 1976
1976 - 1977
1977 (Includes clippings for film The Mango Tree, June 1977.)
Draft of Hepburn Foreword to Helpmann Biography, ca. 1977
1978
1979 – 1980 (Includes handwritten reply by Hepburn on envelope of Apr.
8, 1980 letter.)
F. 27
F. 29
1981
1983 (Includes flyer for The Cobra, Sydney Theatre Company, Oct. 1983.)
1984 (Includes clipping and flyer re: Civic Centre renamed for Helpmann
F. 30-31
1986 (Includes correspondence from Sheila Stead and itinerary and
F. 28
Apr. 1984.)
clippings re: Checkmate; see also Photos.)
Box 6
F. 1-2
F. 3
F. 4
Death, 1986 (Includes condolence notes to Hepburn and obituaries;
Donald Smith note Oct. 4, 1986 relates reminiscence of Helpmann’s
attending Piccolo Teatro di Milano at City Center, 1960; program is
in collection.)
1987 (Includes correspondence from Sheila Stead, Sheila Helpmann, and
“Chris.”)
Tales of Helpmann (Motion picture), 1990
12
Katharine Hepburn Papers
F. 5
F. 6
F. 7
Interview Audiotapes, 1991 June 1 and undated (Includes letter
from Wallace M. Strathdee re: 1971 tapes of interview with Ellis
Blaine, Australian Broadcasting Company, mentioning Hepburn, also
undated postcard of Helpmann (Theatre Museum).)
Hepburn, Katharine, 1974 (Contains draft of letter to Ellen Geer re:
possible play for Hepburn (refused).)
Hopkins, Arthur, 1943 – 1950
1943 – 1944 (Mentions Spencer Tracy in most letters; see also Without
Love correspondence, May 26, 1942.)
F. 8
1945 (Includes correspondence discussing possible vehicle for Hepburn and
Tracy; letter of June 12, 1945 alludes to Tracy’s problems.)
F. 9
F. 10
F. 11
F. 12
F. 13
F. 14
F. 15
F. 16
F. 17
1946
1947
1949 and ca. 1949 (Includes handwritten note from Hopkins.)
1950 (Includes one letter from Hopkins, Jan. 21, 1950, two obituaries for
Hopkins, and letter and piece by Charles O’Brien Kennedy, Apr. 21,
1950.)
Houseman, John, 1973 (Includes handwritten note inviting Hepburn to City
Center Acting Company, Nov. 11, 1973.)
Howell, Miriam, 1933 Apr., July (Includes two telegrams; mentions The
Green Bay Tree and Dark Victory.)
“H,” 1957 – 1982 (Includes postcard mentioning “Chaillot” signed “Love,
Tony” possibly from Anthony Harvey, 1974.)
Irons, Jeremy, 1984 Feb. 28 (Includes thank you note for Valentine’s Day
candies from Hepburn.)
F. 18
“I – J,” ca. 1949, 1978, and 1990
Keith-Johnston, Colin (Probably), 1933 (Includes handwritten note
F. 19
Killanin, Michael Morris, Baron, 1958 Jan. – Mar. (Includes
F. 20
Knopf, Edwin H. (Office of), 1928 Aug. 28 (Includes telegram from
mentioning The Warrior’s Husband.)
correspondence re: Drama at Inish, Or Is Life Worth Living.)
“Jack” to Hepburn in Minneapolis re: job prospect.)
F. 21
F. 22
Landau, Jack, 1957 Apr. 18
Larson, Jack, 1991 Dec. 8 (Includes note and program for poetry reading at
F. 23
Lastfogel, Abe, 1957 – 1958 (Includes letter re: musical version of Juno
Harvard.)
and the Paycock for Hepburn and Spencer Tracy; see also Production
files.)
F. 24
F. 25
F. 26
F. 27
Lauber, Elisabeth, 1976 (Includes letter from fan with photos of her work.)
Lennon, Tom, 1942 Mar. 26
Logan, Joshua and Nedda, 1967 and 1973 (See also Production files.)
League of American Theatres and Producers, Inc., 1994 Feb., Mar.
(Includes Susan E. Lee letter requesting message from Hepburn to be
read at luncheon celebrating women in theater, Feb. 23, 1994, and draft
and typed message from Hepburn, Mar. 10, 1994.)
F. 28
F. 29
F. 30
F. 31
Lerner, Alan Jay, 1976 and 1979 (See also Coco.)
Lewis, Robert, 1979 and 1993
Lindsay, Robert, 1986 Oct. 10
Lortel, Lucille, 1989 – 1993
13
Katharine Hepburn Papers
F. 32
F. 33
F. 34
McKaig, Alexander, 1932, 1934 – 1935 (See also Production files.)
Mather, Aubrey, 1951 – 1952
Miranda Theatre Company, 1990 - 1994
1990 (Includes handwritten draft, carbon, and note to Maria St. Just from
Hepburn, July 27, 1990.)
F. 35
F. 36
1992
General
Intensive Care Script, Apr. (Includes second draft of script
(photocopy) by Valentina Fratti and letter, Apr. 28, 1992.)
F. 37
F. 38
F. 39
1993 – 1994
Museum of the City of New York, 1979, 1986
“M,” 1932 – 1992 (Includes Hepburn typed reply, June 24, 1992 to letter
from Albert Milano.)
F. 43
Nielsen, Karl, 1945 – 1963 (See also Production files.)
1945 – 1947
1951 – 1952
1954
1957 – 1963 (Includes postcard to Nielsen from Armina [Marshall], ca.
F. 44
Old Fashioned Opera House (East Haddam, Ct.), 1932 Apr.
F. 40
F. 41
F. 42
Mar. 1957.)
(Includes letter from Charles M. Sheafe, Jr. re: leasing theater with Will
Geer and others.)
F. 45
F. 46
O’Morrison, Kevin, 1971 Oct. 17
Orr, Lorraine Bate, 1992 (Includes letter from Orr, Mar. 16, 1992 and copy
F. 47
Ocracoke Child Care Center (North Carolina), 1993 Sept. 11
of Hepburn typed reply, Feb. 27, 1992 to previous letter (not found).)
(Includes thank you note for donation.)
F. 48
F. 49
F. 50
Palmer, Lilli, 1950 Nov. 15
Pape, E. Lionel, ca. 1934 and 1935
Parry, Natasha, 1979 (Includes postcard from Parry inviting Hepburn to
production at La Mama and undated handwritten reply from Hepburn.)
F. 51
F. 52
Perry, Kathleen R. (Nephew’s Wife, Probably), 1976 May 8
The Players – Edwin Booth Lifetime Achievement Award, 1994
(Includes John Martello letter, June 28, 1994 and copy of typed reply
from Hepburn declining, July 7, 1994.)
Box 7
F. 1
F. 2
Redgrave, Michael, 1954 Mar. 10
Reed, Joseph Verner, 1962 and 1970 (See also American Shakespeare
F. 3
Richardson, Ralph, 1961 and 1967 (Includes handwritten thank you note
Festival.)
F. 4
F. 5
F. 6
with red pencil drawing of flower; see also Meriel Forbes-Robertson
correspondence.)
Ritchard, Cyril, 1954 (Includes mention of proposed film version of The
Millionairess.)
Robinson, Jay, 1990 and 1991
Robinson-Duff, Frances, 1935 (Includes letter mentioning Twelfth Night,
July 15, 1935; see also Production files, Photos, and Subject Files.)
14
Katharine Hepburn Papers
F. 7
Routledge, Patricia, 1976 May 6 (Includes handwritten thank you note for
brownies baked by Hepburn.)
F. 8
F. 9
Russell, Michelle, 1994
“R,” ca. 1952, 1981, and 1994 (Includes notes form Eugenia Rawls and
F. 10
Selznick, Irene Mayer, 1950 and 1958 (Includes thank you telegram and
Yvonne Redgis (in French).)
letter from Irving Schneider re: Selznick; see also Productions and Enid
Bagnold correspondence.)
F. 12
Shubert Theatre (New Haven, Ct.), 1981 and 1990
1981
75th Anniversary, 1990 (Includes correspondence and carbon of
F. 13
Shute, James, 1933 (Includes correspondence mentioning The Lake, Jed
F. 11
Hepburn’s typed reply, Mar. 21, 1990.)
Harris, Ludlow Ogden Smith, Laura [Harding], Nancy Hamilton, and
others; Shute was Harris’s secretary.)
F. 14
F. 15
Spacey, Kevin, 1986 May 14
Stage Door Canteen (N.Y.), 1944 Mar. 28 (Includes telegram from
Elizabeth Morgan inviting Hepburn to appear.)
F. 16
F. 17
F. 18
Stoddard, Eunice, ca. 1933 June 28
Styne, Jule, 1973
“S,” ca. 1930s, 1959, and 1970 (Includes correspondence from Bernard
Sabath re: Charlotte Shaw, with Hepburn’s handwritten reply on letter,
telegram from Arthur Schwartz, Apr. 29, 1959, holiday card from
Jennifer and Norton Simon, ca. 1976, and note from William Sauter, ca.
1930s.)
F. 19
F. 20
F. 21
Theatre Guild, 1938 – 1994 (See also Production files.)
1938 – 1948
1950 – 1952
1954 – 1955 (Includes correspondence from Lawrence Langner
mentioning Old Vic tour and American Shakespeare Festival.)
F. 22
F. 23
1956 – 1958
1959 (Includes typed synopsis of discussion with Hepburn re: musical of
Captain Brassbound’s Conversion; Lawrence Langner suggests
Leonard Bernstein and later Stephen Sondheim as possible
composers, Apr. 2, 1959.)
F. 24
F. 25
1962 – 1969
1977 – 1979 (Includes correspondence with Mayor of Hartford re:
F. 26
ca. 1981 – 1982 and 1990 – 1991 (Includes Philip Langner letter with
Shubert Theatre.)
F. 27
F. 28
F. 29
F. 30
photocopied section of Phyllis Langner letter (Mar. 5, 1939) telling
Hepburn how she saved Theatre Guild, Aug. 28, 1991.)
Triton Gallery Exhibition, 1992 Nov. (Includes note from Philip
Langner, invitation, and postcard featuring Hepburn in As You Like
It.)
75th Anniversary Gala, 1994 Mar. – Apr. (Includes two notes from
Philip Langner, one-sheet program for event at The Players, Apr. 19,
1994, and list of plays produced.)
Todd, Ann, 1954
Tracy, Spencer (Probably), 1959 Mar. (Includes telegram to Hepburn in
Martinique signed “Pot,” ca. Mar. 13, 1959; see also The Millionairess.)
15
Katharine Hepburn Papers
F. 31
F. 32
F. 33
F. 34
F. 35
F. 36
F. 37
“T,” 1982, 1994 (Includes note from Howard Teichmann, Feb. 27, 1982.)
Walpole, Hugh, 1936
Whitehead, Robert, ca. 1977 – 1990 and undated (Includes holiday
card from “The Whiteheads,” ca. 1977 and thank you card from
“Charlie,” Jan. 11, 1981; see also Production files and Zöe Caldwell
correspondence.)
Wilbourn, Phyllis, 1951, 1954, and 1972 (Includes note from Sheila
Stead re: false eyelashes; see also Constance Collier correspondence.)
Williams, Hope, undated
Winter, Ella, 1954 and 1955
Whitehead, O.Z. (“Zebby”), ca. 1932 – 1933 (See also Production
files.)
F. 38
F. 39
“W,” 1952 – 1978 (Includes note from Hugh Whitemore, Apr. 4, 1978.)
Yamamoto, Ihiro, 1950 Jan. 10 (Includes fan letter from Japan with
F. 40
Zimbalist, Stephanie, 1992 – 1993 (Includes handwritten note from
Nikkatsu Weekly enclosed.)
F. 41
F. 42
F. 43
F. 44
Zimbalist, program for The Philadelphia Story Cleveland PlayHouse
[sic], Nov. 24, 1992 – Jan. 3, 1993.)
“Y – Z,” 1935 – 1981 (Includes correspondence from Dorothy Yost, Aug. 5,
1935 and Sam Zolotow re: Hepburn plans, Feb. 12, 1936.)
First Name Only, 1952 – 1980
Unidentified, 1934 - 1975
1934 Mar. 8 (Includes “Unsigned” telegram to Hepburn from Albany.)
1940 – 1975 (Includes letter Apr. 23, 1959 possibly from Dick Hepburn.)
Sub-series 2 – Solicitations, 1933 – 1994 and undated
Box 8
F. 1
The Actor’s Day Book, 1994 Jan. - 1994 Feb.(Includes note from Anne
Meacham, Jan. 23, 1994, letter and project description from Paul
Boynton, Feb. 8, 1994.)
F. 2
F. 3
F. 4
F. 5
F. 6
F. 7
F. 8
Adams, Charles, 1955 and 1968
“A,” 1956 – 1981 (Includes replies by Hepburn on some letters.)
Bachmann, Lawrence P., 1977 Apr. 1
Barr, Richard, 1973 and 1978
Bedford, Brian, 1973
Bengis, Jerome, 1970 – 1974 (Includes Hepburn reply Sept. 19, 1974.)
Bolton, Guy, 1976 and ca. 1976 (Includes handwritten draft of reply by
Hepburn re: The Star, ca. 1976; see also Production files – A Man and
His Wife and Winston and Wife.)
F. 9
F. 10
Brisson, Frederick, 1979 Oct. 8 (Includes letter re: The Chalk Garden.)
Bunnell Theatre Company, 1992 (Includes letter from high school
F. 11
students re: reviving American Shakespeare Festival and Hepburn’s
handwritten reply on envelope.)
Burke, Louis, 1989 – 1992 (Includes correspondence re: reviving
American Shakespeare Festival and two typed replies (one with
handwritten draft) from Hepburn, Oct. 10, 1991 and June 4, 1992.)
F. 12
The Bushnell (Hartford, Ct.), 1990 and 1994
1990 (Includes Hepburn replies.)
16
Katharine Hepburn Papers
F. 13
Lifetime Achievement Award, 1994 (Includes correspondence re:
award in Hepburn’s name and two copies of her note declining. )
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19-20
F. 21
F. 22
“B,” 1934 – 1985
Ba – Be, 1952 – 1985 (Includes correspondence from Baldwin
Bergersen, Vera Beringer, and Alexis Bernier; also includes
Hepburn’s handwritten replies on some letters.)
Bl – Bu, 1934 – 1979 (Includes correspondence from Maurice Browne
re: Hayland Wilson play, June 19, 1934 and Hepburn’s handwritten
replies on two letters.)
Citadel Theatre, 1973 (Includes Hepburn’s handwritten reply on verso of
Oct. 26, 1973 letter.)
Cleveland Play House, 1980 (Includes Hepburn’ handwritten reply
(declining) on one letter.)
Cohen, Alexander H., 1967 – 1992 (See also Night of 100 Stars.)
Crabtree, John, 1974
Cronyn, Hume, 1978 (Includes correspondence re: The Gin Game film.)
“C,” 1950 – 1980
Ca – Chevy Chase, 1950 – 1980 (Includes correspondence from
F. 25
Carnegie-Mellon Theatre re: On Golden Pond, Jan. 30, 1980; Cheryl
Crawford Productions, and Chevy Chase Summer Theatre.)
Choate – Coss, 1956 – 1979 (Includes correspondence from Edward
Choate re: The Chalk Garden, Apr. 10, 1956; includes Hepburn’s
handwritten replies on letters.)
Dassin, Jules, 1966 (Includes correspondence re: unnamed play and
Hepburn’s typed and signed reply declining, July 4, 1966.)
Dexter, John, 1978 (Includes correspondence re: Ghosts.)
F. 26
Drake, Alfred, 1967 (Includes note from Drake re: A Shade Too Lively for
F. 23
F. 24
F. 27
F. 28
F. 29
F. 30
F. 31
F. 32
F. 33
F. 34-35
F. 36
F. 37
F. 38
F. 39
Genesius Productions; includes Hepburn’s handwritten reply on verso of
Oct. 4, 1967 letter.)
“D,” 1935 – 1980 (Includes correspondence from Jean Dalrymple re:
Elizabeth the Queen, Jan. 19, 1966; Harold Daniels, Mar. 17, 1945;
Tamara Daykarkhanova, June 17, 1935; and Gordon Dryland, 1979.)
Edward, Arthur III, 1979 (Includes correspondence re: Trey Hall’s work
and letter from Hall.)
Employment, 1952 (Includes two letters re: secretarial work.)
English Stage Company Ltd., 1957
Epstein, Alvin, 1986 Jan. 22
Eugene O’Neill Foundation, Tao House, 1988 - 1994
1988
1990
1992 (Includes correspondence re: Hepburn’s assistance in obtaining
O’Neill’s bed (a Chinese opium table) from Gumps, San Francisco;
includes two color snapshots of bed.)
1994 (Includes invitation to Tao House and note from Sharon Powers
declining for Hepburn, Dec. 8, 1994.)
Eugene O’Neill Memorial Theater Center, Inc., 1974 – 1991
Faber, Max, 1953 Sept. 21
Frohman, Daniel, 1940 Jan. 1 (Includes letter re: Actor’s Fund Benefit.)
17
Katharine Hepburn Papers
F. 40
“E – F,” 1952 – 1978 (Includes correspondence from Falmouth Playhouse,
F. 41
Feb. 28, 1956; Irving Fineman, Nov. 30, 1952; Burry Fredrik re: The
Chalk Garden, May 10, 1972; and Robert Fryer re: The Cherry Orchard,
Oct. 6, 1978.)
Gifford, Thomas, 1980 Nov. 24 (Includes correspondence re: Wings by
Arthur Kopit.)
Goldman, James, 1978 Dec. 10 (Includes correspondence re: stage
version of The Lion in Winter.)
F. 42
F. 43
F. 45
Goodspeed Opera House, 1978, 1980, and 1990
Gregory, Paul, 1965 and 1980 (Includes Hepburn’s handwritten reply.)
Gurney, A.R., 1978 – 1989 (Includes typed reply re: Love Letters from
F. 46
“G,”, 1952 – 1993 (Includes correspondence from Lee Guber re: Painting
F. 44
Hepburn, June 27, 1989.)
Churches, Feb. 13, 1984 and Hepburn’s handwritten reply on letter.)
F. 47
F. 48
Hanson, Philip, 1974 Apr. 27 (Includes draft of Hepburn’s reply.)
Hartford Stage Company, 1973 and 1977 (Includes Hepburn’s
F. 49
Hayes, Helen, 1951 Feb. 12 (Includes telegram re: ANTA; see also
F. 50
Helen Hayes/Tappan Zee Performing Arts Center, 1990 (Includes
handwritten reply on June 30, 1977 letter.)
Production files.)
F. 51
F. 52
letter from James A. Figg III, Sept. 17, 1990 and Sharon Powers’s typed
reply, Sept. 27, 1990; form letter from Pat Carroll re: Helen Hayes
Awards, 1990.)
Holliman, Earl, 1979 Mar. 22 (Includes request for Hepburn artwork for
Actors and Others for Animals greeting cards, and Hepburn handwritten
reply on letter; see also Oversized.)
“H,”1938 – 1987
Ha, 1938 – 1987 (Includes correspondence from Samuel B. Harrison,
Apr. 14, 1960 and Harry Haun, 1981.)
F. 53
He – Hy, 1952 – 1982 (Includes correspondence from Darryl Hickman,
Sept. 29, 1967; C.J. Higgins re: The Marriage of a Career by Dwight
Smith, July 12, 1957; telegram re: S. Hurok The Taming of the Shrew
from “Laura” [Harding?], June 16, 1959; also includes Hepburn’s
handwritten replies on some letters.)
F. 54
Ivoryton Playhouse Foundation, Inc., 1979 - 1994
1979 – 1980 (Includes letter re: preserving playhouse and handwritten
draft of Hepburn reply, Jan. 24, 1980, appeal letter (undated), and
foundation-related materials.)
F. 55
F. 60
1987
1990
1991
1993 – 1994 (Includes Hepburn letter of support, Aug. 18, 1994.)
Ivoryton Playhouse – River Rep, 1991
James, Hal, 1967 (Includes letter and Hepburn reply re: Portrait of a
F. 61
“I – J,” 1956 – 1985 and undated (Includes correspondence from
F. 56
F. 57
F. 58
F. 59
Queen.)
Maximilian Ilyin re: The Fourth Dimension, Sept. 19, 1956 and Jules
Irving re: Ghosts, July 26 (no year given).)
Box 9
F. 1
Knightsbridge Theatrical Productions Ltd., 1971 and 1977 (Includes
18
Katharine Hepburn Papers
correspondence re: The Shattering, Oct. 11, 1971 and The Royal Family,
Dec. 14, 1977.)
19
Katharine Hepburn Papers
F. 2
Koch, Howard, 1987 (Includes correspondence re: Nightshade with
F. 3
“K,” 1955 – 1977 (Includes correspondence from Michael Kanin, July 14,
Hepburn’s handwritten reply on letter, May 13, 1987.)
F. 4
F. 5
F. 6
F. 7
1960; Ronald Kinnoch, Jan. 28, 1977; Hepburn’s handwritten replies on
some letters.)
Larangeira, Crispin, 1981 – 1982 (Includes Hepburn’s handwritten reply
on holiday card, Jan. 9, 1982.)
Laurence Olivier Awards, 1986 Sept. 9 (Includes request re: major
award presentation and Hepburn’s handwritten reply on letter declining.)
Lawrence, Russell Lee, 1973 (Includes request for Hepburn’s comments
re: Corinne Bishop and photocopy of Angela Lansbury note re: Bishop.)
F. 9
Lefkowitz, Nat, 1977 – 1982
Leider, Jerry, 1959
Light, Robert, 1980 (Includes correspondence re: Right of Way by Richard
F. 10
Lincoln Center Theater, 1993 – 1994 (Includes handwritten notes from
F. 11
Live Bait Theatrical Company, 1993 (Includes correspondence and two
F. 8
Lees.)
Bernard Gersten.)
photocopies of Hepburn sketch of herself.)
F. 12
F. 13
F. 14
F. 15
F. 16
“L,” 1952 – 1993 and undated
La – Le, 1933 – 1986 (Includes correspondence from Andy Lawler, May
20, 1956; Jack Lenny re: A Walk Out of Water by Donald Driver,
Feb. 7, 1986; Maurice Lever re: Hamlet tour, July 10, 1933; also
includes Hepburn’s handwritten replies on some letters.)
Li – Lo, 1979 – 1993 and undated (Includes correspondence from
Miller Lide with pages from script, and note from Kermit Love, both
undated.)
McCann, Thomas P., 1985 (Includes correspondence re: Handy Dandy by
William Gibson.)
MacDonald, Mary Ella, 1975 (Includes reply from Phyllis Wilbourn, Dec.
1, 1975.)
F. 17
MacLeod, Angus, 1951 – 1954
Manchester Musical Players, 1994 June and July (Includes typed copy
F. 18
Martin, Elliot, 1967 and 1977 (Includes Hepburn’s handwritten reply on
of Hepburn’s reply.)
letter, Nov. 17, 1967.)
F. 19
F. 20
F. 21
F. 22
Martin, Ralph G., 1975 and 1979
Meredith, Burgess, 1957 and 1978 (Includes telegram re: Robert
Joseph’s work, two letters from Joseph, and letter from Meredith re: The
Magenta Moth with Hepburn’s handwritten reply on letter, Dec. 6, 1978.)
Michael Edgley International Pty. Ltd., 1978 and 1979 (Includes
correspondence re: The Gin Game.)
F. 23
Milton Stiefel Memorial Fund, 1983
Mirror Theatre, 1984 – 1985 (Includes correspondence from Sabra Jones
F. 24
“M,” 1952 – 1984 (Includes correspondence from Marc Mantell, Oct. 24,
F. 25
National Actors Theatre, 1991 Sept. 7 (Includes handwritten letter from
F. 26
National Arts Club Gold Medal Award, 1983 (Includes Hepburn’s
and Hepburn’s replies.)
1984.)
Tony Randall.)
handwritten reply (declining) on letter.)
20
Katharine Hepburn Papers
F. 27
F. 28
F. 29
F. 30
F. 31
F. 32
F. 33
F. 34
F. 35
National Theatre – Laurence Olivier’s 80th Birthday, 1987 Feb. 17
National Theatre of the Deaf, 1987 – 1990 (Includes Hepburn’s replies.)
NBC Opera Company, 1956 and 1957 (Includes correspondence from
Chandler Cowles re: The Prime of Life by Lionel Wiggam with
Hepburn’s handwritten reply on letter, July 19, 1956.)
New York University, 1977 (Includes Hepburn’s handwritten reply on
letter, Mar. 8, 1977.)
Newcombe, Martin, 1988 (Includes correspondence re: Mrs. Palfrey at the
Claremont, Oct. 3, 1988 and copy of Hepburn’s typed reply.)
Newell, Michael, 1965 Apr. 29 (Includes correspondence re: Globe
Theatre, London.)
“N,” 1952 and 1981 (Includes correspondence from New York Magazine re:
Hepburn photo on cover.)
Old Vic, 1976 and 1978 (Includes Hepburn’s handwritten replies on some
letters.)
F. 36
Permanent Charities Committee – Actors As Artists, 1992
Peterson, Lou, 1976 (Includes note re: Hepburn playing Lillian Smith and
F. 37
Phoenix Theatre, 1954 and 1993 (Includes Hepburn’s handwritten reply
F. 38
Poultney, Sherman K., 1992 (Includes revised version of Home at Last
F. 39
Preminger, Hope Bryce, 1981 (Includes letter and Hepburn’s handwritten
F. 40
“P,” 1952 – 1982 (Includes correspondence from: Milton Parsons, May 1,
reply, Oct. 6, 1976.)
on letter, June 23, 1993.)
(9pp.) and note.)
reply re: ‘In the Beginning,’ Said Great Aunt Jane.)
1959; The People’s Light and Theatre Company re: renaming theater for
Hepburn; The Playhouse re: I Knock at the Door, May 9, 1957;
Princeton Summer Theatre, Apr. 22, 1952; includes Hepburn’s and Dr.
Hepburn’s replies.)
F. 41
F. 42
Rabb, Ellis, 1976 – 1989
Raucher, Herman, 1982 Sept. 28 (Includes letter and typed outline of
F. 43
Redick, Charlene, 1984 – 1985 (Includes Hepburn’s handwritten replies
F. 44
Rigg, Diana, 1980 Dec. 22 (Includes request re: No Turn Unstoned with
F. 45
Rose Theatre (London), 1989 (Includes correspondence from Irene Worth,
F. 46
Rowland, Toby, 1967 (Includes correspondence re: A Delicate Balance in
F. 47
“R,” 1956 – 1980 (Includes correspondence from Radcliffe College re:
untitled play based on Surgery Is Indicated by Joseph Kesselring.)
re: plays.)
Hepburn’s handwritten reply on letter.)
May 18, 1989 and Save the Theatres, Inc., June 7, 1989.)
London.)
Hepburn’s papers, Feb. 21, 1979; Flora Roberts re: Ira Levin untitled
play, May 15, 1956.)
F. 48
F. 49
Save the Theatres, Inc., 1989 Jan. 6 (See also Rose Theatre (London).)
Seattle Repertory Theatre, 1977 and 1982 (Includes Hepburn’s
F. 50
Sergel, Christopher, 1956 (Includes letter from Sergel and Bert Allenberg
F. 51
Sharkey,Thomas M., 1978 (Includes Hepburn’s handwritten reply on letter,
F. 52
Shaw Festival, 1978 Oct. 18 (Includes letter from Leslie Yeo re: The
Corn Is Green.)
handwritten reply on letter, Feb. 4, 1977.)
re: Winesburg, Ohio.)
Feb. 17, 1978.)
21
Katharine Hepburn Papers
F. 53
F. 54
Shea, David, 1992 (Includes letter and copy of Hepburn’s typed reply.)
Sheehy, Helen, 1991 and 1992 (Includes Hepburn’s typed reply, Jan. 16,
F. 55
Smith, Peter, 1986 Apr. 26 (Includes letter re: Wilfred Lawson biography
F. 56
“S,” 1950 – 1977 (Includes correspondence from Colgate Salsbury, Aug. 25,
1992, to request for interview re: Eva Le Gallienne biography.)
and Hepburn’s handwritten reply on envelope.)
1957; Gerald Savory, Oct. 19, 1957; Joel W. Schenker re: Margaret
Sanger, July 31, 1974; Carol Schild re: The Duchess of Pasadena by
George Tibbles, Feb. 11, 1977; Stephen M. Silverman, Jan. 28, 1991;
also includes Hepburn’s handwritten replies on some letters.)
Box 10
F. 1
Tanrydoon Productions, Ltd., 1981 (Includes correspondence re: musical
version of The Shop on Main Street with Hepburn reply on letter, July 14,
1981.)
F. 2
Theatre for a New Audience – Robert Whitehead Evening, 1990
(Includes carbon of Hepburn note, Oct. 15, 1990 and envelope with
Hepburn handwritten draft.)
F. 3
F. 4
F. 5
Theatre Newington – Statesperson of the Arts Award, 1989
(Includes letter re: Hepburn receiving award and Hepburn typed reply
declining.)
Theatre Royal Chatham Trust, 1993 (Includes typed reply form
Hepburn.)
F. 7
Thompson, Rudi, 1977 (Includes Hepburn handwritten reply on envelope.)
Tierney, Mary (a.k.a. Kelly, Mary Tierney), 1988
Tony Awards, 1990 and 1991 (Includes letter from Steve Forrest, Cates
F. 8
Travers, Pamela, ca. 1959 – 1960 Aug. 20 (Includes re: Hepburn
F. 6
Films, Inc. re: Hepburn appearance on telecast.)
playing Mary Poppins on television.)
F. 9
F. 10
F. 11
Tunney, Kieran, 1984 (Includes Hepburn handwritten replies on letters.)
Tute, Warren, 1952 (Includes Hepburn reply on letter July 9, 1952.)
“T,” 1959, 1979 (Includes correspondence from Norman Twain re: And So
Farewell, Sept. 11, 1959, and Walter Tyszka, Aug. 10, 1979.)
F. 12
F. 13
Walker, Charles R., 1936 (Includes Hepburn typed reply.)
Walnut Street Theatre, 1989 – 1994 (Includes typed reply from Sharon
F. 14
Wanamaker, Sam, 1983 Mar 9 (Includes letter re: Hepburn participation
F. 15
Westport Country Playhouse, 1965 – 1978 (Includes Hepburn’s
F. 16
Whittaker, Herbert (80th Birthday Celebration), 1990 (Includes carbon
Powers for Hepburn to serve as Honorary Board member.)
in benefit.)
handwritten replies on two letters.)
of Hepburn note, Sept. 17, 1990 and note from Whittaker, ca. Sept.
1990.)
F. 17
F. 18
Williamson, Susan G.E., 1976
Wilson, Morrow, 1993 Apr. (Includes copies of two replies from
Hepburn.)
F. 19
F. 20
Wilson, Nicki, 1982 (Includes Hepburn handwritten replies on letters.)
Wood, Audrey, 1950 – 1977 (Includes four letters; Dec. 2, 1952 letter
includes Hepburn handwritten reply.)
22
Katharine Hepburn Papers
F. 21
F. 22
F. 23
F. 24
F. 25
F. 26
F. 27
“V – Y,” 1934 – 1982 (Includes correspondence from Henry T. Weinstein
re: Eleanor, Oct. 31, 1978; Major W. Hayland Wilson, Aug. 19, 1934;
Eugene V. Wolsk re: The Chalk Garden, Mar. 18, 1974; also includes
Hepburn handwritten replies on some letters.)
Zimring, Mike, 1977 (Includes Hepburn handwritten reply on Feb. 22, 1977
letter.)
First Name Only, 1975
Series II: Productions, 1928 – 1994 and undated
American Shakespeare Festival Theatre and Academy, 1954 – 1960
and undated
Correspondence, 1954 – 1955 (Includes two brochures.)
1955
Brochures
Programs
Measure for Measure Brochure, 1956 – 1957 (Includes Phoenix
Theatre publicity brochure for 1956 ASF production.)
F. 28
F. 29
F. 30
Correspondence, 1957
General
Feb. – Apr.
May – Aug.
Sept. and undated (Includes correspondence from John Houseman,
Sept. 13, and Lincoln Kirstein, undated.)
F. 31
F. 32
“Dear Founder” Note and Newsletter”
Invitations (Includes note from Shakespeare Guild inviting Hepburn to
F. 33
Opening Night Wishes, 1957 (Includes wishes from Morris
supper and flyer for “Old Fashioned Shore Dinner.”)
[Carnovsky], Theresa Helburn, Jack Landau, and Lawrence
[Langner].)
F. 34
Fan Mail, 1957
May – June (Includes correspondence from Joe Heaphy with Hepburn
reply on letter, June 18.)
F. 35-36
F. 37
July (Includes telegram from “CL,” probably Corliss Lamont, July 6.)
Aug. (Includes correspondence from Corliss Lamont, Aug. 9 and Edgar
F. 38
Sept. and undated (Includes letter from Chester Erskine, undated and
Scott, Aug. 20, Aug. 26, and Aug. 29.)
Hepburn thank you to “Miss A,” undated.)
F. 39
Bell, Stanley (Transcripts of Correspondence re: Katharine
Hepburn), 1957 – 1958 (“Stanley’s letters; excerpts For Miss
Hepburn and Phyllis Lest you forget…” typed on first page; one
excerpt mentions Hepburn shopping for watch for Spencer Tracy.)
F. 42
1957
Brochure and Season Schedules
Contracts
Financial (Includes list of season previews sold and Hepburn list of tickets
F. 43
Programs (Includes two souvenir programs, one with Hepburn notations
F. 44
Publicity (Includes letter from Frank Goodman re: publicity.)
F. 40
F. 41
for family, friends, etc.)
and one missing Much Ado About Nothing section.)
23
Katharine Hepburn Papers
Scripts
The Merchant of Venice
Box 11
F. 1
F. 2
#2 (Includes some revisions and annotations.)
#47 (Includes several inserts “Miss Hepburn – New” written on first
page.)
F. 3
F. 4
Much Ado About Nothing, 1957 - 1958
1957
Script (Includes some pencil annotations.)
Promptbook (Includes production information and Hepburn stationery
with “Much Ado” and “Anthony [sic] and Cleopatra” written,
probably by Hepburn; Bernard Gersten was a stage manager.)
F. 5
F. 6
F. 7-8
F. 9
F. 10
F. 11-12
F. 13
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19
Cast List (Includes gifts listed next to names, probably from Hepburn.)
Check-In Sheet
Notes (Includes Hepburn handwritten notes.)
Potential Productions
Tour, 1958 and ca. 1958
1958
Company Roster
Financial
Programs, 1958 and ca. 1958
1958
Correspondence – General
Season Programs and Brochure
1959
Correspondence – General
July – Aug.
Sept. – Oct.
Nov. – Dec.
List of Characters by Play (Includes typed lists for Antony and
Cleopatra, Love’s Labour’s Lost, Richard II, Troilus and Cressida,
and Twelfth Night.)
F. 20
F. 21
F. 22
F. 23-24
Season Programs and Publicity Material
Company and Personnel Lists, ca. 1959 – 1960
1960 and ca. 1960
Correspondence - General
Brochures (Includes 1955 – 1960 brochure, 1960 – 1961 sessions
brochure, and season brochures and schedules.)
Box 12
F. 1 -2
F. 3
F. 4
Company Rosters (Includes rosters with gifts from Hepburn listed.)
Costume Sketches, ca. 1960 (Includes pen sketches (by unidentified
person) of costumes from 19th century French publications.)
Katharine Hepburn Notebook (Includes casting notes, rehearsal notes
by Hepburn and others for Antony and Cleopatra and Twelfth Night.)
24
Katharine Hepburn Papers
F. 5
Performance Schedules (Includes typed schedule and handmade
F. 6
Program Bio (Includes three typed pages with Hepburn handwritten
calendar with Hepburn family and friends pencilled in to attend.)
revisions; fragile condition.)
F. 7
F. 8
Programs (Includes souvenir booklet.)
Antony and Cleopatra
Correspondence
Opening Night Telegrams, July 22 (Includes telegrams from
Marion and Ellsworth [Grant] and [Jane] Loring.)
F. 9
Fan Mail, Aug. – Sept. and undated (Includes correspondence
from Herbert Machiz, Aug. 1; Philip Langner, Aug. 9; Ben
Hecht Aug.; Basil Langton, Sept. 7; Jean Dalrymple, undated.)
F. 10
F. 11
F. 12
Scripts
Red Cover (Includes some pencil annotations by Hepburn.)
“1 Rev.” (Includes some pencil annotations by Hepburn.)
Manila Folder (Script begins on p. 2; includes some pencil
annotations by Hepburn, some revisions, Mar. 19, 1960; also
includes small sheet of notes; “White Mexican Coat Extra
Large” written by Hepburn on folder.)
Box 13
F. 1
In Binder (Includes acting edition pasted on loose leaf sheets, Act
IV, Scenes 1-9 and Act V, Scenes 1-2.)
F. 2
F. 3-4
Revisions (Includes some pencil annotations by Hepburn.)
Promptbook (Prepared especially for Hepburn by William Woodman,
F. 5
Costume Design (Contains watercolor mounted costume design by
a stage manager.)
Rouben Ter-Arutunian for Cleopatra and inscribed to Hepburn.)
F. 6-7
F. 8
Notes (Includes Hepburn’s handwritten notes.)
Production Materials (Includes drawings of Kalimpong chair with
dimensions.)
F. 9-10
Research
General (Includes correspondence from “Gibby” (RobsjohnGibbings Ltd., Hepburn handwritten notes on envelope re:
Cleopatra’s religion, clippings, and illustrations.)
Box 14
F. 1-2
F. 3
Costumes (Includes fabric samples.)
Twelfth Night
Correspondence – Opening Night Telegrams, June 7 – 8
(Includes telegrams from “Betty” (Lauren Bacall, probably),
Barbara Barrie, Betty Comden and Adolph Green, Bernard
Gersten, and “Inga” [Swenson], probably.)
F. 4
Scripts
“26” (Includes some annotations; “K. Hepburn” written on front
cover.)
F. 5
F. 6
“27”
Incomplete (Includes some annotations.)
25
Katharine Hepburn Papers
F. 7
Promptbook (Includes production information on title page; prepared
for Hepburn by William Woodman, a stage manager.)
F. 8
F. 9
F. 10
F. 11
F. 12
F. 13
Casting
General
Katharine Hepburn Notes
Notes (Includes three small pads of Hepburn notes and sketches of
costumes, as well as personal notes to herself; also includes two
sheets with sketches and notes.)
Production Materials (Includes music cues, correspondence re: wigs;
also includes list of characters and script page numbers for their
appearances.)
Clippings
Miscellaneous, undated (Includes note from Lawrence Langner on
envelope.)
The Animal Kingdom, 1931
Box 15
F. 1
Script (Revised) (Includes note from Lucy (sp.?) Mitchell re: script, Nov. 16,
1931.)
F. 2
F. 3
Contract (photocopy)
Art and Mrs. Bottle, or, The Return of the Puritan 1931 and undated
(Includes programs and photocopies for Forrest Theatre (Philadelphia) with
note from Helen Bork, and Broad Street Theatre.)
F. 4
F. 5
F. 6
F. 7
F. 8
F. 9
F. 10-11
F. 12
As You Like It, 1949 - 1951
Correspondence, 1949 – 1950
General
1949 (Includes pre-Broadway tour telegram from Main Bocher, Dec. 28,
1949; see also The Millionairess correspondence – Lawrence
Langner letter, July 17, 1951.)
1950 (Includes correspondence from Robert Edmond Jones, May 8,
1950 and closing night telegrams from Constance Collier and
James [Bailey], probably.)
Opening Night Telegrams
Shubert Theatre (New Haven, Ct.)
“B – H,” Dec. 8 – 10 (Includes telegrams from Nancy Davis,
David Eichler, Peter Glenville, Robert Helpmann, Walter
Huston, Margot [Fonteyn], and Arthur [Hopkins].)
“J – L,” Dec. 8 (Includes telegrams from Ruth [Gordon] and
Garson [Kanin], Anita Loos, Lynn [Fontanne] and Alfred
[Lunt].)
“M – N,” Dec. 7 – 8 (Includes telegrams from William Morris
and “Leween” [sic], probably Leueen McGrath.)
“P – W,” Dec. 7 – 10 (Includes telegrams from Dore Schary,
Nicholas Schenck, and Benny Thau.)
First Name Only, Dec. 6 – 9 (Includes telegrams from George
[Cukor], possibly, Noel [Coward], possibly, two notes: one
signed “Bill,” probably from William Prince, the other signed
“James,” probably Bailey; also includes two floral cards.)
Colonial Theatre (Boston, Ma.), Dec. 12 (Includes two telegrams
and one floral card.)
26
Katharine Hepburn Papers
F. 13
Cort Theatre
“A – B,” Jan. 26 – 20 (Includes telegrams from Richard Aldrich,
F. 14
“C – D,” Jan. 25 – 27 (Includes telegrams (some with replies)
Fannie [Brice], probably, and Audrey Christie (Briggs).)
F. 15
F. 16
F. 17
F. 18
F. 19
F. 20
F. 21
F. 22-23
from James Cagney, Nancy Davis, Diana Douglas, and Alfred
Drake.)
“E – F,” Jan. 25 – 26 (Includes telegrams (some with replies)
from Tom Ewell, Edna Ferber, Nina Foch, Dorothy and
Herbert Fields, and John Ford.)
“G,” Jan. 25 – Feb. 3 (Includes telegrams (some with replies)
from Betsy [Drake] and Cary Grant and Edmund Gwenn.)
“H,” Jan. 25 – Feb. 3 (Includes telegrams (some with replies)
from Kitty [Carlisle] and Moss Hart, Signe Hasso, Robert
Helpmann, Arthur Hopkins, and Walter Huston.)
“J – K,” Jan. 25 – 27 (Includes telegrams (some with replies)
from Fay and Michael Kanin and Betsy and Gene Kelly.)
“L,” Jan. 26 (Includes telegrams (some with replies) from Bob [sic]
Lewis, Nedda and Josh Logan, and Anita Loos.)
“M,” Jan. 25 – 26 (Includes telegrams from Louis B. Mayer,
Joseph Mankiewicz, Jean Muir, and Patricia Morison.)
“P – R,” Jan. 26 (Includes telegrams (some with replies) from Lilli
Palmer and Elmer Rice.)
“S,” Jan. 26 (Includes telegrams (some with replies) from Dore
Schary, Arnold Stang, Meta Stern, and Milton Stiefel.)
Box 16
F. 1
“T – V,” Jan. 26 (Includes telegrams (some with replies) from
F. 2
“W,” Jan. 26 (Includes telegrams (some with replies) from Phyllis
F. 3
First Name Only, Jan. 25 – 26 (Includes telegram from “Dan,”
Benny Thau, Carroll Tracy, and John Van Druten.)
Wilbourn and Robert and Pat Wise.)
possibly Howard Hughes.)
F. 4-5
Floral Cards, 1950 and ca. 1950 Jan. (Includes cards from Joan
[Bennett] and Walter [Wanger], Main Bocher, Constance [Collier],
George Cukor, Nancy Davis, Sally and Chester Erskine, Lynn
[Fontanne] and Alfred [Lunt], Judy [Garland] and Vincente Minnelli,
Ruth [Gordon] and Garson [Kanin], Cole Porter, William Prince,
Irene Mayer Selznick, and Lee Shubert.)
F. 6
Fan Mail, 1950, ca. 1950, and undated
Jan. (Includes correspondence from Main Bocher, Jan. 27, 1950;
Constance Collier, Jan. 28, 1950; Lillian Gish, Jan. 14, 1950.)
F. 7
Feb. 5 – 17 (Includes correspondence from David Eichler, Feb. 5, Feb.
F. 8
Feb. 23 – Feb. undated (Includes correspondence from David
F. 9
Mar. (Includes correspondence from Anita Loos, Mar. 2, 1950 and
F. 10
Apr. – May 16 (Includes correspondence from José Ferrer, Apr. 10,
F. 11
May 17 – July (Includes correspondence from Robert Edmond Jones,
F. 12
ca. 1950 (Includes correspondence from Ali [Barbour], probably, Edna
23, 1950; Howard Dietz, Feb. 16, 1950.)
Eichler, Feb. 23, 1950.)
Corliss Lamont, Mar. 8, 1950.)
1950 and Aldous Huxley, May 6, 1950.)
May 29, 1950.)
Best, Constance Collier, Peter Glenville, and Margot Fonteyn.)
27
Katharine Hepburn Papers
F. 13
[Hughes], Howard (Probably) (Includes handwritten note
signed “Howard.”)
F. 14
F. 15
F. 16
F. 17
undated
Scripts, Copyright 1907 – 1949 and undated
Nielsen, Karl Script, ca. 1949
Acting Editions, Copyright 1907 and undated
Banner Play Bureau, undated (Copyright 1907)
Samuel French, undated (“Katharine Hepburn” written on cover by
[Karl] Nielsen; published in London.)
F. 18
F. 19
New Readers’ Shakespeare 1937 Feb. (Includes some annotations.)
Artwork by Jan Sherwood, 1950 (Probably opening (unidentified) night
gift to Hepburn; includes ink drawings on 3 ½ by 5-inch cards of cast
with lines from play and jokes as captions.)
F. 20
Casting, 1949 and ca. 1949
General, 1949 (Includes telegram from Michael Benthall, audition lists,
material on Circle Players (Hollywood), and David Diamond resumé.)
F. 21
Katharine Hepburn Lists, ca. 1949 (Includes names of possible actors
F. 22
Notepad, 1949 (Includes notepad listing actors seen, as well as comments
on slips of paper.)
by Hepburn on some actors listed, including Charlton Heston.)
Box 17
F. 1
F. 2
F. 3-4
F. 5-6
F. 7
F. 8
F. 9
F. 10
F. 11
F. 12
Contact Sheet, 1949 – 1950
Financial, 1949 – 1951
1949 – 1950
1950
1951
Itinerary – Pre-Broadway, 1949 Aug. 31
Programs, ca. 1949 and 1949 - 1950
Colonial Theatre (Boston, Ma.), 1949
Cort Theatre (New York, N.Y.), 1950
Souvenir Programs, ca. 1949
Clippings, ca. 1949 - 1950
Tour, 1950 - 1951
Correspondence, 1950 - 1951
General, 1950 – 1951
1950
July – Oct. (Includes telegram from James [Bailey], probably;
see also Michael Benthall correspondence.)
F. 13
Nov. – Dec. (Includes correspondence from Corliss Lamont,
Nov. 6, 1950.)
F. 14
1951
Opening Night Telegrams, 1950
Community Theatre (Hershey, Pa.), Sept. 22 – 25 (Includes
telegrams from Ruth [Gordon] and Garson [Kanin], [Alice]
Palache, Carroll [Tracy], Jane [Loring], possibly, and note
28
Katharine Hepburn Papers
from Lawrence [Langner].)
29
Katharine Hepburn Papers
F. 15
Biltmore Theatre (Los Angeles, Ca.), Dec. 4 – 13 (Includes
telegrams from M.G.M. Studio drivers, Betsy [Drake] and
Cary [Grant], and Frank Whitbeck.)
F. 16
F. 17
Floral Cards, ca. 1950 - 1951
Closing Night Telegrams (Rochester, N.Y.), 1951 Mar. 2 – 3
(Includes telegrams from Constance Collier, Cloris Leachman,
probably, and Phyllis [Wilbourn], probably.)
F. 18
Fan Mail, 1950 – 1951
1950 Oct. – Dec. (Includes poem “In Praise of Katharine
Hepburn’s Voice” by Ralph Marcus, Oct. 28, 1950 and Helen
Palache Lansdale, with Hepburn’s reply on letter, Dec. 29,
1950.)
F. 19
F. 20
F. 21
F. 22
F. 23
F. 24
1951
Jan. 1 – 14
Jan. 18 – 25
Jan. 26 – 29
Feb.
Contact Sheet, 1950
Hepburn, Katharine – History of the As You Like It Tour, 1950 –
1951 (Includes fact sheets on theaters, advertising grosses, etc., as
well as Hepburn’s comments.)
Box 18
F. 1
F. 2
F. 3
F. 4
F. 5
F. 6
F. 7
Itinerary (Revised), 1950 – 1951
Program and Ad Copy, ca. 1950
Publicity, 1950 – 1951
Programs, 1950 - 1951
1950
1951
Souvenir Program, 1950
Miscellaneous, 1950 – 1951 (Includes note on Olympic Hotel (Seattle)
stationery and Greenfield Village Guide Book (Edison, Institute,
Dearborn, Mich.).)
F. 8
F. 9
Clippings, 1950 Sept. – 1950 Dec.
The Bride the Sun Shines On, Croton River Playhouse (Harmon,
N.Y.), 1932 June – 1932 July (Includes letter from Ann Ayres and
review.)
F. 10
The Cat and the Canary, Comstock-Cheney Theatre (Ivoryton, Ct.),
1931 (Includes two programs and photocopy of program for the New York
Players production; Henry Hull and Will Geer also in cast.)
Coco (Musical), 1967 – 1971 and 1973
Correspondence, 1967 – 1971 and 1973 (See also General
Correspondence re: reunion with chorus members, 1992.)
F. 11
F. 12
General, 1967 – 1971 and ca. 1971
1967
July – Sept. (Includes correspondence from Alan Jay Lerner.)
Nov. – Dec. (Includes correspondence re: contract terms.)
30
Katharine Hepburn Papers
F. 13
F. 14
F. 15
F. 16
undated (Includes correspondence from Alan Jay Lerner, André
Previn, two envelopes to Alan Jay Lerner marked “Never
Sent,” and handwritten drafts of letters from Hepburn re: her
reservations on doing Coco.)
1968 (Includes typed transcript of phone conversation with Alan Jay
Lerner.)
1969
Jan. – May (Includes correspondence from Alan Jay Lerner.)
June – Sept. (Includes correspondence from Cecil Beaton, July 9
and ca. Sept. 1969.)
F. 17
Oct. – Dec. (Includes correspondence from André Previn, Oct. 11,
1969 and Alan Jay Lerner, Dec. 2, 1969.)
F. 18
1970
Feb. – May (Includes correspondence from André Previn, Apr. 29,
F. 19
July – Sept. and ca. 1970 (Includes telegram from Cye Landy
1970.)
Advertising re: Woman of the Year Award.)
F. 20
F. 21
1971 and ca. 1971
Chanel, Coco, 1969 Dec. (Includes telegram from Chanel and
handwritten draft of Hepburn letter to her.)
Hepburn, Katharine, 1969 and ca. 1969 (See also all Coco
correspondence.)
F. 22
F. 23
F. 24-26
Letter (Draft) to Gale Dixon, 1969 Oct. 8
Thank You Notes (Drafts), ca. 1969
Lerner, Alan Jay, ca. 1969 – 1970 (See also Coco General
correspondence.)
F. 27
F. 28
F. 29
Opening Night Telegrams and Wishes, 1969 - 1970
1969 Nov.
“B – N,” Nov. 11 – 12 (Includes wishes from Frederick
[Brisson], probably, Mia [Farrow], John Gavin, Eileen
Heckart, Abe and Frances Lastfogel, and Patricia Neal.)
“P – W,” Nov. 12 - 15 (Includes wishes from James Prideaux,
Ben Thau, and Robert and Pat Wise.)
First Name Only, Nov. 12 (Includes wishes from “Betty,”
probably Lauren Bacall; “George” [Cukor], probably; “Irene”
[Selznick], probably; “Rosalind” [Russell], probably; “Kath.”)
F. 30
1969 Dec.
“A,” Dec. 18 (Includes wishes from Michael Allinson, Sheilah and
F. 31
“Be –Bl,” Dec. 18 (Includes wishes from Binkie [Beaumont],
F. 32
“Bo – Bu,” Dec. 18 (Includes wishes from Main Bocher, Leslie
Dickie Attenborough, and René Auberjunois.)
Joan [Bennett], probably, and Joan Blondell.)
F. 33
F. 34
F. 35-36
Bricusse, Freddie [Brisson], probably, and Richard and
Elizabeth Burton.)
“C,” Dec. 17 – 18 (Includes wishes from Michael Cacoyannis,
Richard Chamberlain, Carol Channing, and Joan Copeland.)
“D – E,” Dec. 15 – 19 (Includes wishes from Robert Dolan,
Alfred Drake, Phoebe and Henry [Ephron], probably, and
Mimi [Doyle] and Wells [Root].)
“F – G,” Dec. 17 – 19 (Includes wishes from Douglas Fairbanks
31
Katharine Hepburn Papers
Jr., Greer Garson, Bernard Gersten, Brendan Gill, Peter
Glenville, James and Marie Goldman, and Cary Grant.)
32
Katharine Hepburn Papers
F. 37
“H – J,” Dec. 18 – 19 (Includes wishes from Gusti Huber and
F. 38
“K,” Dec. 14 – 18 (Includes wishes from Edwin and Mildred
F. 39
“L,” Dec. 18 – 25 (Includes wishes from Abe and Frances
F. 40
“M,” Dec. 9 – 19 (Includes wishes from Shirley MacLaine, Liza
F. 41
“N – O,” Dec. 18 (Includes wishes from Jean Negulesco, Barry
F. 42
“P – R,” Dec. 18 – 19 (Includes wishes from Larry Parks and
F. 43
Betty Garrett, Martin and Lee Poll, André Previn, James
Prideaux, Joseph [Verner] Reed, and Rosalind [Russell],
probably.)
“S,” Dec. 17 – 19 (Includes wishes from Dore and Miriam Schary,
Tonio Selwart, Daniel M. Selznick, Tom Skelton, Sam and
Bella Spewack, Ray Stark, Rod Steiger, Meta Stern, and Jule
Styne.)
Van Johnson.)
Knopf.)
Lastfogel.)
Minnelli, and Vincente [Minnelli].)
Nelson, and Maureen Farrow [O’Sullivan].)
F. 44
F. 45
“T – U,” Dec. 18 (Includes wishes from Rouben Ter-Arutunian.)
“W –Z,” Dec. 18 – 19 (Includes wishes from Hal and Martha
Wallis, John F. Wharton, Jock and Betsy Whitney, Phyllis
Wilbourn, and Nicol Williamson.)
Box 19
F. 1-2
F. 3-4
F. 5
F. 6
F. 7
F. 8
F. 9
F. 10
First Name Only, Dec. 17 – 19
Floral Cards, 1970 (Includes cards from Lauren Bacall, Frederick
Brisson, George Cukor, Martha Graham, Tony [Harvey], probably,
Leland Hayward, Danny Kaye, Abe and Frances Lastfogel, Irving
Lazar, Jo Mielziner, Robert Ryan, Irene Mayer Selznick, Constance
Towers and John Gavin, and Robert and Pat Wise.)
Holiday Wishes and Gifts, ca. 1969 Dec. (Includes correspondence
and gift cards from “Betty,” probably Lauren Bacall, Frederick
Brisson, Karen Lerner, Josh and Nedda Logan, Sidney and Gail
Lumet, and [Alice] Palache and Russ [Jones].)
Closing, 1970
July 29 – 31 (Includes note from Ethel Merman, July 29, 1970.)
Aug. 1 (Includes note from Ann Reinking.)
ca. Aug. 1 (Includes note from André Previn.)
Cast and Crew
Floral Cards (Includes cards from Lauren Bacall, probably, Ethel
Merman, and Rosalind Russell and Frederick Brisson.)
F. 11
F. 12
Cast and Crew, 1969 and ca. 1969 – 1973
1969 and ca. 1969 (Includes note from Joan Copeland and thank you
note from crew for opening night party; see also Opening and
Closing Night Wishes.)
F. 13
F. 14
F. 15
1970
Feb. – May
July
Aug.
33
Katharine Hepburn Papers
F. 16
Sept. – Oct. (Includes note from Joan [Copeland], probably, Sept.
22, 1970, and letter to Robert Emmett Dolan from “Judy,”
Sept. 21, 1970.)
F. 17
F. 18
ca. 1970
ca. 1970 and 1973 (Includes two cards signed by cast and floral cards
from Frederick Brisson and Danielle Darrieux; also includes letter
from Vicki Allen re: possible Coco film, Mar. 17, 1973.)
F. 19
F. 20
F. 21
F. 22
F. 23
F. 24
Fan Mail, 1969 – 1970 and ca. 1969 - 1970
1969
Nov. 3 – 19 (Includes correspondence from Peg Murray, Nov. 11,
1969; Armina Marshall, Nov. 14, 1969; Phoebe and Henry
Ephron, Nov. 19, 1969.)
Nov. 24 – 30 (Includes correspondence from Ellis Rabb, Nov. 27,
1969; Arthur Laurents, Nov. 28, 1969; Meta [Stern], Nov. 30,
1969.)
Dec. 1 - 8 (Includes correspondence from Shepard Traube, Dec. 1,
1969; Cyril Ritchard, Dec. 2, 1969; Audrey [Christie],
probably, Dec. 7, 1969; Frank Capra, Dec. 8, 1969.)
Dec. 11 – 15 (Includes correspondence from James Prideaux, Dec.
12, 1969 and Corliss [Lamont], Dec. 12, 1969.)
Dec. 16 – 27 (Includes correspondence from Ella [Winters] and
Donald [Odgen Stewart], Dec. 16, 1969; Bob Thomas, Dec.
16, 1969; Petula Clark, ca. Dec. 16, 1969, Van [Heflin],
probably, Dec. 17, 1969; Joshua Logan, Dec. 24, 1969; Joseph
Cotten, Dec. 27, 1969.)
1970
Jan. (Includes correspondence from Blanche Yurka, Jan. 8, 1970; Al
Hirschfeld, Jan. 18, 1970; Anne Bancroft, Jan. 27, 1970.)
F. 25
F. 27
Feb.
Mar. (Includes correspondence from John Houseman, Mar. 9, 1970.)
Apr. (Includes correspondence from Joan Crawford, Apr. 23, 1970
F. 28
May (Includes correspondence from Lillian Hellman, May 1970 and
F. 29
June (Includes correspondence from U.S. Rep. Stewart Bledsoe,
F. 30
July 1 – 15 (Includes correspondence from James Prideaux, July 1,
F. 26
and Penelope Gilliatt, ca. Apr. 3, 1970.)
Christopher Hewett, May 20, 1970.)
June 22, 1970.)
1970; Cliff Robertson, July 10, 1970; Dina Merrill, ca. July
1970.)
F. 31
F. 32
F. 33
July 18 – 30
Aug. (Includes correspondence from Irving Berlin, Aug. 6, 1970.)
ca. 1969 - 1970
“A – C” (Includes correspondence from Rae [Allen], probably,
Kenneth Battelle, and Katharine Cornell.)
F. 34
“D – H” (Includes correspondence from Chester Erskine, Lillian
F. 35
“J – T” (Includes correspondence from Van Johnson (two notes),
Gish, Anthony Harvey, and Signe Hasso.)
Ely Landau, Armina [Marshall], and Sada [Thompson],
probably.)
F. 36
First Name Only
34
Katharine Hepburn Papers
Scripts, 1967 – 1970 and undated (See also Oversized materials.)
Box 20
F. 1
F. 2
F. 3
F. 4
F. 5
1967 Aug.
1968 July (Paramount logo on cover.)
1969
July 24 and Oct. 20 (Includes Hepburn’s handwritten annotations,
revisions, and sketch on last page; also includes discarded pages,
Oct. 20, 1969.)
Sept. 11 (Includes some handwritten annotations by Hepburn and cast
list.)
“Last Script,” Sept. 11 (Written in pencil on first page, probably by
Hepburn.)
Box 21
F. 1
F. 2
F. 3
1969 Sept. 11 and 1970 Jan. 14 (Includes one page of “Notes on
Jan. 14th Performance.”)
Dec. 18 (Includes pencil diagram by Hepburn on title page; also
includes loose page of Alfred Dixon drill.)
Katharine Hepburn Working Script, ca.1969 (Includes loose
sheet of music notes and note from “Bett,” July 26, 1969; also
includes some notes by Hepburn, with casting possibilities on
verso of last page, and rudimentary drawing of set on back cover.)
F. 4
undated
Script (Includes some annotations and revisions; also includes note from
F. 5
Photocopied Script (Includes some handwritten revisions and contact
“Fred” re: films used in show, Mar. 26.)
information written by Hepburn.)
F. 6
F. 7
Clean Script
Extra Pages, ca. 1969
Box 22
F. 1
F. 2-3
F. 4
“Old Pages Removed From Miss Hepburn’s Script,” ca. 1969
Loose Pages (Includes some annotations.)
Tony Awards Taping, 1970 (Includes photocopy (7pp.) of The Money
Rings Out Like Freedom.)
F. 5
Cast Recording, 1969 – 1970 (Includes correspondence from Alan Jay
Lerner and handwritten draft of Hepburn reply re: omission of dialogue
on recording.)
F. 6
F. 7
Contact Sheets, 1969 and ca. 1969
Contracts, 1969 (Includes Promissory Note to perform in show and contract
F. 8
Costumes, 1969 and undated (Includes sketch by Hepburn of Coco
F. 9
Film Sequences, ca. 1969 (Includes two small sheets of handwritten notes
with Famous Music Corp for cast recording.)
costume and suggested costume plot.)
by Hepburn listing film sequences and several short scripts.)
F. 10-11
F. 12
Financial, 1969 and ca. 1969 – 1970
Kent State University Speech, 1970 May 8 (Includes Keir Dullea
telegram.)
F. 13
F. 14
List of Letters, Etc. Sent by Katharine Hepburn, ca. 1969 – 1971
Mock Lyrics (Possibly by Dick Hepburn), ca. 1969 (Includes 11pp.
typed.)
35
Katharine Hepburn Papers
F. 15
F. 16-21
Music, ca. 1969 (Includes holograph manuscripts and photocopies of music
for The Money Rings Out Like Freedom, (Old Copy), Ohrbach’s,
Bloomingdale’s and Best and Saks (also typed lyrics), The World Belongs
to the Young (Part I), and typed lyrics for Where Am I Going?)
Notes, 1969 – 1970 (Includes Hepburn’s handwritten notes, with drafts of
notes to Garson Kanin and director’s notes.)
Box 23
F. 1
F. 2
F. 3
F. 4
Orchestra – Speech Transcript, 1970 May 5 (Includes transcript of
presentation speech by Tom Parshley representing pit musicians; see also
Oversized materials.)
Production Materials, ca. 1969 (Includes list of possible directors, photo
call schedule, and sign-in sheet.)
Research, 1954 – 1971 and undated (See also Oversized materials.)
Chanel, Coco, 1954 – 1971 and undated
1954 – 1969
1971 and undated (Includes mostly obituaries and original of
Newsday clipping, Jan. 27, 1971.)
F. 5
F. 6
F. 7
F. 8
F. 9
Coco, The Novel, undated (Includes pp. 17-44 and 69-78.)
Schedules, 1969 and ca. 1969
Sketches, ca. 1969 – 1970 (Includes photocopies of sketch by Hepburn of
herself as Coco; one copy is signed “For Henry Heytens” (sp.?), also
sketches of set on “The President Special “stationery.)
Tony Awards, 1970 (Includes three notes from cast re: Hepburn’s decision
to appear on broadcast, Tony nomination certificate, and floral card from
Frederick Brisson.)
Programs, 1969 – 1970
Mark Hellinger Theatre 1969 – 1970 (Includes program with names
and addresses of fans on cover and how many performances seen.)
F. 10
F. 11
F. 12
F. 13
F. 14
F. 15
Souvenir Program, ca. 1969
Clippings, 1968 – 1970
1968 – 1969 (Includes Critics Choice, Nov. 1969 issue.)
Newsweek, 1969 Nov. 10
1970, Feb. – 1970 Aug.
Tour, 1970 – 1971 and ca. 1971
Correspondence, 1970 – 1971 and ca. 1971
General, 1970 - 1971
1970 – ca. 1970 (Includes handwritten draft of note by Hepburn.)
1971
Jan. (Includes correspondence from Edwin Lester, Jan. 19, 1971
and Alix Jeffry, Jan. 31, 1971.)
F. 16
F. 19
Feb. and ca. Feb.
Mar. – Apr.
May – July
Actors’ Fund of America, 1971 (Includes Hepburn’s handwritten
F. 20
Albert, Sidney P., 1971 May (Includes handwritten response by
F. 17
F. 18
replies on letters and envelopes re: benefit performance.)
Hepburn on some letters.)
36
Katharine Hepburn Papers
F. 21
L.A. Civic Light Opera Controversy, 1971 (Includes
F. 22
correspondence, with some handwritten drafts by Hepburn, re:
use of expletive in Coco.)
Russell, Rosalind, ca. 1971 (Includes handwritten notes thanking
Hepburn for use of dressing room; see also opening night wishes
and floral cards.)
F. 23
F. 24
F. 25
F. 26
F. 27
F. 28
F. 29-30
Opening Night Telegrams and Wishes, 1971
Cleveland, Jan.
“B - H” (Includes telegrams from Michael Bennett, Irving
Berlin, Frederick [Brisson], probably, Chester [Erskine],
probably, and Leland [Hayward].)
“L – W” (Includes telegrams from Abe and Frances [Lastfogel]
and Alan [Jay Lerner], probably.)
First Name Only (Includes telegrams from “Betty,” “George,”
Irene,” and “Rosalind.”)
Chicago, Jan. (Includes telegram from Alan [Jay Lerner].)
Hartford, Feb. (Includes note from Teresa Wright.)
Toronto, Mar. (Includes floral card from André Previn.)
Los Angeles, Apr. (Includes telegrams from Joan Blondell, Robert
Fryer, Frances and Samuel Goldwyn, and Edwin Lester.)
F. 31-32
Floral Cards, 1971 (Includes cards from Chester and Sally [Erskine],
Garson Kanin, Lillie Messinger, and “Louella.”)
F. 33
F. 34-35
F. 36
F. 37
Holiday Wishes, 1970 Dec.
Closing, 1971
Cast and Crew
June
Goodbye Cards, ca. June
July and ca. June – July (Includes note from Frederick
Brisson.)
F. 38
F. 39
Floral Cards
Cast and Crew, 1971 (Includes correspondence from Jack [Beaber]
(N.Y. cast), Gale [Dixon], Easter cards from crew, and floral
cards; see also individual city Opening Night Wishes.)
Fan Mail, 1971 and ca. 1971
1971
Box 24
F. 1
F. 2
F. 3
F. 4
Jan. 5 - 21
Jan 25 - 31
ca. Jan.
Feb. 1 – 6 (Includes Hepburn’s handwritten reply on envelope
with letter of Feb. 4, 1971.)
F. 5
F. 6
Feb. 7 - 28
ca. Feb. (Includes mostly Hartford engagement and Hepburn’s
handwritten reply on verso of one letter.)
F. 7
F. 8
F. 9
Mar.
Apr. 2 – 22
Apr. 23 – 28 (Includes Hepburn’s handwritten replies on some
37
Katharine Hepburn Papers
envelopes.)
38
Katharine Hepburn Papers
F. 10
May 1 – 10 (Includes Hepburn’s handwritten replies on two
F. 11
May 11 – 30 (Includes note from Janet Leigh Brandt, May 25,
letters.)
F. 12
F. 13
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19
F. 20
F. 21-22
F. 23
1971 and telegram from Chester and Sally Erskine, May
26, 1971; includes Hepburn’s handwritten replies on some
letters.)
June 1 – 11 (Includes Hepburn’s handwritten replies to two
letters.)
June 13 – 19 (Includes Hepburn’s handwritten replies on some
letters.)
June 21 – 28 (Includes Hepburn’s handwritten replies on two
letters.)
ca. June (Includes notes from Nan Martin, Robert Quarry, and
Mimi [Doyle]; also includes Hepburn’s handwritten replies
on some letters.)
July and ca. 1971 (Includes note from Kay Ballard, July 9,
1971)
Casting – Chorus, ca. 1970 (Includes list of chorus members re: tour
participation.)
Contact Sheets, ca. 1970 – 1971 (Includes post-production address
list.)
Contract, 1970 – 1972 (Includes photocopy of contract with three
handwritten sheets of expenses attached.)
Costume List, 1971 July (Includes two copies of content list of “Box 20
– Miss Hepburn’s Costumes.”)
Financial, 1971 (Includes salary list and correspondence, operating
statement, and list of income by city.)
F. 24
Hotel Information, 1971
Itineraries and Schedules, 1970 – 1971 (Some schedules include
F. 25
Performance Notes, 1971 Jan. 18 and 1971 Feb. 8 (Includes typed
F. 26
Production Information Notepad, ca. 1970 (Includes Hepburn’s
potential grosses.)
notes from director or stage manager.)
handwritten notes re: cast, salaries, production details, contact
information, etc.)
F. 27
F. 28
F. 29
F. 30
F. 31
F. 32
F. 33
F. 34-35
F. 36
Programs, ca. 1970 and 1971
1971
Auditorium Theatre (Rochester, N.Y.), Feb. 16 - 20
Bushnell Theatre (Hartford, Ct.), Feb. 23 - 27
O’Keefe Centre (Toronto, Ont.), Mar. 28 – Apr. 3
American Theatre (St. Louis, Mo.), Apr. 6 - 17
State Fair Music Hall (Dallas, Texas), Apr. 20 – 24
L.A. Civic Light Opera (Los Angeles, Ca.), Apr. 27
Souvenir Program, ca. 1970
Clippings, 1970 Nov. – 1971 Jan.
The Corn Is Green (Probably) (Television),1961 and undated (Includes
transcripts of letters (1928 – 1939) from Sara Grace Cooke to Emlyn
Williams and of letter to Flora Robson, Dec. 9, 1961; it is unclear if this
material is related to Hepburn’s 1979 television film.)
F. 37
The Czarina, Auditorium Theatre (Baltimore, Md.), ca. 1928 (Includes
39
Katharine Hepburn Papers
program and photocopy for Edwin H. Knopf and William P. Farnsworth
production; Mary Boland and Kenneth MacKenna also in cast.)
40
Katharine Hepburn Papers
Box 25
F. 1
Death Takes a Holiday, Adelphi Theatre (Philadelphia, Pa.), 1929
F. 2
Divorce Me, Dear, 1931 (Includes letter from office of S.M. Biddell and
F. 3
The Game of Love and Death, Theatre Guild on the Air (Radio), 1948
– 1949 (Includes Theatre Guild contract, Dec. 16, 1948 and M.G.M.
(Includes program and photocopies.)
unsigned contract.)
agreement, Jan. 5, 1949 for permission for services.)
F. 4
F. 5
F. 6
Holiday (a.k.a. The Dollar), 1928 - 1929
Side (“Linda”), 1928 (Hepburn was Hope Williams’s understudy.)
Programs, 1928 - 1929
Shubert Theatre (New Haven, Ct.), 1928 Nov. 19 - 21
Shubert Riviera Theatre (N.Y., N.Y.), 1929 Oct. 14 (Includes
program and photocopies.)
F. 7
Jane Eyre, 1936 - 1937
Correspondence – Opening Night Telegrams, 1936 - 1937
Shubert Theatre (New Haven, Ct.), 1936
“B – K,” Dec. 26 – 28 (Includes telegrams from Tallulah Bankhead,
Eric Blore, Van Heflin, and Miriam Howell.)
F. 8
F. 9
“L – W,” Dec. 24 – 26 (Includes telegrams from Lynn [Fontanne]
and Alfred Lunt, Florence [Eldridge] and Fredric March, Ginger
[Rogers], probably, John F. Wharton, and “Zebby” [O.Z.
Whitehead].)
First Name Only, Dec. 25 – 26 (Includes two telegrams from
“Spoot” and “Stephen,” possibly Howard Hughes.)
Colonial Theatre (Boston, Ma.), 1936 – 1937
F. 10
(Includes telegrams from Edna Ferber and “Unsigned,” probably Helen
Jerome.)
F. 11
“M – W,” and First Name Only, 1936 Dec. 28 – 1937 Jan. 4
(Includes telegram from “Stephen,” possibly Howard Hughes.)
F. 12
Erlanger Theatre (Chicago, Il.), 1937 Jan. 11 – 1937 Jan. 31
(Includes telegrams from Julia Ferber, [Meta] Stern and [John] Ford,
Norma Shearer Thalberg, Violet Watkins (Watson), an aspiring
playwright, attempting to reach Howard Hughes.)
F. 13
F. 14
Shrine Auditorium (Des Moines, Ia.), 1937 Feb. 17 – 1937 Feb.
18 (Includes telegrams from Ward Bond, Aubrey Smith, Meta Stern,
Shirley Temple and parents; also includes first names only, such as
“Jane,” [Loring], probably, “Dudley [Nichols], probably and “Jack”
[Ford], possibly, and “Lionel.”)
Various Tour Stops, 1937 Feb. 6 – 1937 Mar. 9 (Includes telegrams
from “Lawrence,” probably Langner, “Stephen,” possibly Howard
Hughes, and “Terry,” probably Helburn.)
F. 16
Scripts, 1935 - 1937
1935 (Script is stamped “The Theatre Guild” on first page.)
1935 and 1937 (Includes silhouette of Hepburn (?) in period costume by
F. 17
Contract, 1937 – 1938 (Includes related memo from Leland Hayward to
F. 15
Wetherbee, 1937.)
Laura Harding, Mar. 4, 1937.)
Programs, 1936 – 1937
41
Katharine Hepburn Papers
F. 18
F. 19
Colonial Theatre (Boston, Ma.), 1936 Dec. 28 and 1937 Jan. 9
Hartman Theatre (Columbus, Oh.), 1937 Mar. (Includes
incomplete, unidentified letter on “A. L. S.” stationery describing
Hepburn’s performance, Mar. 8, 1937.)
The Lake, 1933 - 1941
Correspondence, 1933 - 1941
General, 1933 - 1934
1933
Box 26
F. 1
F. 2
F. 3
F. 4
F. 5
Apr. – July (Includes telegrams from Jed Harris, one from Miriam
Howell, and telegram from Alexander McKaig probably re:
The Lake, May 18, 1933; see also Leland Hayward, Jed Harris,
and James Shute correspondence.)
Aug. – Nov. (Includes telegram with unidentified handwritten
reply, Sept. 22, 1933 re: Hepburn and cast salaries and
unsigned telegram.)
Dec. and ca. 1933 (Includes telegram From Frank Crowninshield
and note from Howard [Green] re: costumes.)
1934 Jan. 19
“Roland,” 1933 Dec. 20 – 1934 Jan. 2 (Includes telegrams from
“Roland;” see also Opening Night Telegrams – First Name Only and
Floral Cards.)
F. 6
F. 7
Opening Night Telegrams and Wishes, 1933 and ca. 1933
1933
National Theatre (Washington, D.C.), Dec. 17 - 18
“B – G” (Includes telegram from William Farnsworth.)
“H – W” (Includes telegrams from “Dad,” Henry Hull, Jr.,
Nancy H. [Hamilton], probably, and “Douglass”
[Montgomery], probably.)
“P – W” and First Name Only (Includes telegrams from
Frances Robinson-Duff, “Tony” [Miner], probably,
“Jimmy,” “Eunice” [Stoddard], possibly, and “Miriam”
[Howell], probably.)
F. 9
Martin Beck Theatre (N.Y., N.Y.), Dec. 26 – 30
“A – C” (Includes telegrams from Ralph Bellamy, Alan
Campbell, and Noel Coward.)
F. 10
F. 11
F. 12
F. 13
F. 14
F. 15
“D – L” (Includes telegrams from Irene Dunne, John Farrow,
Arthur Hopkins, Jessie and Besse Lasky, and handwritten
note from Daniel Frohman.)
“M – N” (Includes telegrams from Alexander McKaig, Kenneth
[MacKenna] and Jo [Mielziner], Douglass Montgomery,
and W[ard] Morehouse.)
“O – W” (Includes telegrams from Laurence Olivier and Jill
Esmond, Frances Robinson-Duff, and John F. Wharton.)
First Name Only (Includes telegrams from “Fernando,”
“Howard,” “Neva Barry and others,” “Kingie,” “Sister
Joanna of the Cross,” “José,” and “Roley.”)
Floral Cards, ca. 1933 (Includes two cards from “Roley.”)
Jed Harris Demand Note, 1935 – 1941 (Includes correspondence
42
Katharine Hepburn Papers
from Laura Harding, Leland Hayward, and Dr. Thomas Hepburn re:
$15,000 demand note signed by Harris favoring Hepburn, June 18,
1935; also includes 1936 certificate of auto ownership for Ford V-8 in
Louis Pryssing’s name for Hepburn.)
43
Katharine Hepburn Papers
F. 16
Fan Mail, 1933 – 1934 (Includes telegram from George Jessel, Jan. 9,
1934 and letter from Molly Zashen (sp.?) with brooch containing
Hepburn’s photo.)
F. 17
Let Us Be Gay, Comstock-Cheney Theatre (Ivoryton, Ct.), 1931
F. 18
Little Women, Theatre Guild on the Air (Radio), 1945 – 1947 (Includes
F. 19
copies of Theatre Guild contract, Dec. 12, 1945 and letter of agreement, Nov.
25, 1947.)
Long Day’s Journey Into Night (Motion picture), 1960 (Includes
published volume of script (Yale University Press, 1960) with some
markings and one clipping of Hepburn.)
(Includes two programs for New York Players production.)
The Loved and Envied by Enid Bagnold, ca. 1951, 1976, 1979, and
undated
Box 27
F. 1
Correspondence and Book Jacket, ca. 1951, 1976, and 1979
(Includes one note from Bagnold, July 1979 and copy of Bagnold letter to
David Eichler, May 16, 1976.)
F. 2-5
Scripts, undated
Handwritten Dialogue (Includes legal pads with dialogue mostly in
Hepburn’s handwriting; also includes some photocopied pages and
notes.)
F. 6
F. 7
Typescript
Sketchbook, undated (Includes Hepburn Aquarelle sketchbook with notes,
sketches, and watercolor painting; “Les Arts Reunis” with Antibes
address stamped on back cover.)
F. 8
F. 9
A Man and His Wife (a.k.a. Winston and Wife) by Guy Bolton, 1972 –
1977 and undated
Correspondence, 1974 – 1977 and ca. 1977
1974 and 1976 (Includes draft of Hepburn reply.)
1977 and ca. 1977 (Includes correspondence to Hepburn and two
handwritten replies on letter and envelope.)
F. 10
Scripts, 1972 – 1974 and undated
A Man and His Wife, 1972 – 1974 and undated (Includes
transcribed note from Aidan Evans to Richard Usborne re: play, June
9, 1974 and reviews of play abroad, 1972-1974; script includes some
handwritten revisions by unknown person.)
F. 11
Winston and Wife, 1974 Aug. 15
Box 28
F. 1
F. 2
F. 3
The Man Who Came Back Comstock-Cheney Theatre (Ivoryton, Ct.),
1931 (Includes program and photocopy of program.)
A Matter of Gravity, 1974 - 1979
Correspondence, 1974 - 1979
General, 1974 – 1979
1974 (Includes two letter from Noel Willman to Phyllis Wilbourn, Apr.
22 and Apr. 29, 1974 and note from Robert Whitehead to
Hepburn, Aug. 26, 1974.)
1975 (Includes letters, some with handwritten replies by Hepburn, from
“Joan,”[Copeland] possibly, May 21, 1975; Ali [Barbour], Oct.
27, 1975; Rep. Charles J. Carney, Nov. 7, 1975; Roger L. Stevens,
Nov. 19, 1975; Yale University, Nov. 25, 1975.)
44
Katharine Hepburn Papers
F. 4
F. 5
F. 6
1976 Jan. – June (Includes correspondence from The Actors’ Fund;
Joan [Copeland], probably, Jan. 19, 1976; Gerald Schoenfeld,
Feb. 11, 1976.)
ca. 1976 (Includes notes from Robert Whitehead and Noel Willman re:
script.)
Bagnold, Enid, 1974 - 1979 (Includes some Hepburn replies.)
1974 (Includes photocopies of Bagnold letter to “Dame Judith,” June
22, 1974.)
F. 7
F. 8
F. 9
F. 10
F. 11
F. 12
F. 13
F. 14
1975
1976
Feb. – July (Includes note sent to Bagnold by fan, Jan. 17, 1976 and
reply, May 19, 1976; also includes photocopies of draft of
Hepburn letter to Bagnold, Feb. 21, 1976.)
Aug. – Dec. (Includes letter with new dialogue for ending, Aug. 25,
1976.)
1977
Jan. – Mar. (Includes letter with dialogue for new ending, Feb. 18,
1977 and Bagnold letter to “Robert” [Whitehead], probably,
Mar. 12, 1977.)
Aug. – Dec. (Includes copies of letters from Bagnold to Della
Becker, Sept. 2, 1977 and clipping of Lady Diana Cooper,
undated.)
1978 (Includes photocopy of letter to “David” [Eichler], probably, Sept.
11, 1978.)
1979
Mar. – July
Aug. – Nov. (Includes change of address card for Bagnold and
photocopies of letters to “Robert and Zoe” [Whitehead],
probably.)
F. 15
F. 16
F. 17
Eichler, David, 1975, ca. 1975, and 1976
1975 and ca. 1975
1976 (See also Enid Bagnold General Correspondence - Death, 1981.)
Hepburn, Katharine, ca. 1974 – 1976
ca. 1974 – 1975 (Includes two handwritten drafts of notes re: doing
play.)
F. 18
ca. 1976 (Includes handwritten (by Hepburn) transcript of unidentified
thank you note to her.)
F. 19
F. 20
F. 21
F. 22
Opening Night Telegrams and Wishes, 1975 - 1976
1975
Walnut Street Theatre (Philadelphia, Pa.), Oct. (Includes
telegrams from Chester and Sally Erskine, Abe and Frances
Lastfogel, and Audrey Wood.)
National Theatre (Washington, D.C.), Nov. (Includes note
from Pamela Harriman.)
Colonial Theatre (Boston, Ma.), Dec. (Includes telegram from
Edwin and Mildred Knopf, and “George” [Cukor], probably.)
1976
Broadhurst Theatre, Feb.
“A – C” (Includes telegrams from Enid Bagnold, “Betty”
45
Katharine Hepburn Papers
[Lauren Bacall], probably, Michael Bennett, Frederick
Brisson, and Elizabeth and Richard Burton.)
46
Katharine Hepburn Papers
F. 23
F. 24
F. 25
F. 26
F. 27-30
“D – O” (Includes telegrams and wishes from Jules Dassin,
Alfred de Liagre, Jr., “Mimi” [Doyle], “Radie” [Harris],
probably, Ruth [Gordon] and Garson [Kanin], Eli Landau,
and Armina Marshall.)
“P – Y” “Rosalind” [Russell], probably, Hope and Edgar [Scott],
Hal and Martha Wallis, and Irene Worth.)
First Name Only (Includes telegrams and wishes from
“Angela” [Lansbury] and “Peter” [Shaw], possibly and
‘Betsy” [Drake], possibly.)
undated 1976 (Includes holiday cards from “Noel” [Willman],
probably, and note from “Robert.”)
Floral Cards, 1975 - 1976
1975 – 1976 (Includes cards for New Haven and New York from
Barry Diller, Marion and Ellsworth Grant, Alix Jeffry, Katharine
[Houghton] and Ken, Dina Merrill, Ludlow Ogden Smith, Sam
Spiegel, Roger L. Stevens, and Zöe [Caldwell] and Robert
Whitehead.)
F. 31
F. 32
1976
Closing, 1976 Apr. (Includes cards signed by cast and crew and two
floral cards.)
F. 33
Cast and Crew, 1975 – 1976
1975 Nov. – 1975 Dec. (Includes birthday card from Barclay Hotel
staff (Philadelphia, probably) and two notes from Robert
Whitehead.
F. 37
1976
Mar. – June (Includes mostly thank you notes to Hepburn.)
ca. Mar. - June
Fan Mail, 1975 – 1976
1975
Oct. (Includes correspondence from Hume [Cronyn], Oct. 21,1975.)
Nov. 1 – 13 (Includes correspondence from Bryn Mawr College,
F. 38
Nov. 21 – 27 and undated (Includes correspondence from Irene
F. 39
Dec. and ca. Nov. – Dec. (Includes correspondence from Jeffrey
F. 34
F. 35
F. 36
Nov. 13, 1975.)
Worth, Nov. 24, 1975, and Rosemary Harris, Nov. 27, 1975.)
P. Eves, Director, White House Conferences, Dec. 2, 1975 and
Nancy Milford, ca. Nov. – Dec. 1975.)
F. 40
F. 41
F. 42
1976
Jan. (Includes note from Donald Smith, Jan. 27, 1976.)
Feb. 4 – 15 (Includes correspondence from Henry Ephron, Feb. 6,
1976; Ella Winters, Feb. 7, 1976; Betsy Drake, Feb. 10, 1976,
John Davis Lodge, Feb. 12, 1976.)
Feb. 17 – 28 (Includes correspondence from Armina Marshall, Feb.
17, 1976, and James Cagney, Feb. 25, 1976.)
Box 29
F. 1
Mar. 1 – 14 (Includes correspondence from Diana Vreeland, Mar.
F. 2
Mar. 16 – 30 (Includes correspondence from Sheila Horan (FBI
9, 1976, and Anita Loos, Mar. 14, 1976.)
Special Agent and fan), Mar. 16, 1976, and Sam Spiegel, Mar.
23, 1976.)
47
Katharine Hepburn Papers
F. 3
Apr. 1 – 10 (Includes correspondence from N. Y. City Mayor
Abraham D. Beame, Apr. 8, 1976, and Helen Hayes, Apr. 10,
1976.)
F. 4
F. 5
F. 6
F. 7
F. 8
F. 9
undated 1976 and ca. 1976
McGann, Michael J., 1976 Feb. 3 (Includes drawing of Hepburn.)
Scripts, 1976 – 1977 and undated
Untitled, undated (Includes photocopied pages; script titled A Comedy.)
ca. 1976
“#1” (“#1” on title page.)
“#7” (Includes some annotations and notes.)
“Katharine Hepburn” (Cover signed by Hepburn.)
Box 30
F. 1
F. 2
“Phyllis Wilbourn” (“Phyllis Wilbourn” written on title page.)
Yellow Cover (Includes some annotations and revisions, and postcard
used as bookmark; also includes many names and phone numbers
handwritten by Hepburn on front and back covers.)
F. 3
Revisions, 1976, ca. 1976, and 1977
1976
Aug. (Includes correspondence re: script from Noel Willman and
correspondence from Enid Bagnold to Willman.)
F. 4
F. 5
F. 6
F. 7
F. 8
F. 9-12
Sept. (Includes note from Robert Whitehead.)
ca. 1976
Act I (Includes handwritten revisions by Hepburn.)
Act II (Includes handwritten revisions by Hepburn.)
Act III (Includes handwritten revisions by Hepburn.)
Act III Scenes (Includes handwritten revisions by Hepburn.)
Miscellaneous Pages (Includes handwritten revisions by
Hepburn.)
1977
Box 31
F. 1
Apr. 6 (Includes three pages; “Copy of what I sent to Van Nostrand on Apr.
F. 2
“Final End Rec. 1977,” undated 1977 (Includes pp. 1-8; p. 6
6, 1977” typed on top of first page.)
missing.)
F. 3-9
undated
Casting, 1975 July – Sept. (Includes Hepburn’s handwritten comments and
notes.)
F. 10
F. 11
F. 12
F. 13
F. 14
July
Aug.
Sept.
Contact Sheets, ca. 1975
Contracts, 1975 - 1976 13 (Includes unsigned letter of agreement, Aug. 11,
1975, and photocopies of Sept. 13, 1976 document.)
F. 15
Financial, 1975 Nov. 18 and undated
48
Katharine Hepburn Papers
F. 16
F. 17
F. 18
F. 19
F. 20
F. 21
F. 22
F. 23
Gifts Received List, ca. 1976
Itinerary and Performance Schedule, 1975 - 1976
Notes, 1975 and ca. 1975
Post-Performance Speech, 1976 Apr. 10
Publicity, 1975 - 1976
General (Includes note and manuscript of article by Bernard Carragher.)
Correspondence, 1975 - 1976
1975
1976
Programs, 1975 - 1976
1975
Forrest Theatre (Philadelphia, Pa.), Oct. (Includes one program
and Theatre Guild American Theatre Society subscriber letter
(with Hepburn’s name misspelled).)
F. 24
F. 25
F. 26
F. 27
F. 28
F. 29
F. 30
Colonial Theatre (Boston, Ma.), Dec.
1976
Royal Alexandra Theatre (Toronto, Ont.), Jan.
Broadhurst Theatre (N.Y., N.Y.), Apr.
Clippings, 1975 - 1976
1975 Dec. 30 – 1976 Feb. 4
1976
Feb. 5 - 15
Feb 16 – undated 1976
Tour, 1976 - 1977
Correspondence, 1976 – 1977
General, 1976 - 1977
1976
July and ca. July (Includes letter from Christopher Reeve, ca.
July.)
F. 31
Oct. – Dec. and undated 1976 (Includes correspondence
F. 32
from Sam Spiegel (New Year’ Eve invitation and Jane
Greenwood; also includes Hepburn’s handwritten replies
on some letters.)
1977 (Includes correspondence from Robert Whitehead, Feb. 14,
Mar. 25, and undated 1977; Alexander Cohen, Mar. 25,
1977; also includes Hepburn’s handwritten reply on letter
from Art Squires, Feb. 16, 1977.)
F. 33
F. 34
Opening Night Telegrams and Wishes, 1976 - 1977
1976
Denver Auditorium, Sept. (Includes wishes from Broadhurst
Theatre crew, Chester and Sally [Erskine], and George
[Cukor], probably, David Eichler, and Miller Lide.)
Ahmanson Theatre (Los Angeles, Ca.), Oct. (Includes
wishes from Mimi [Doyle], “Susie” [Tracy], probably and
Susan Moon.)
49
Katharine Hepburn Papers
F. 35
F. 36-37
Spreckels Theatre (San Diego) and Curran Theatre (San
Francisco, Ca.), 1976 Dec. – 1977 Jan.
Floral Cards, 1976 and ca. 1977
1976 (Includes cards from Dorothy Arzner, Lucie Arnaz, William
Ball, “George” [Cukor], probably, Betsy Drake, Ben Edwards,
Mrs. Edwin H. Knopf, James Nederlander, and “Betty and
Sam,” probably Lauren Bacall and Sam Robards.)
F. 38
F. 39
F. 40-41
F. 42
F. 43
F. 44
F. 45
F. 46-47
F. 48
F. 49
ca. 1977 (Includes card from Irene Mayer Selznick.)
Cast and Crew, 1976 - 1977
1976 Dec.
1977
Fan Mail, 1976 - 1977
1976
Apr. 13 – 28
May
Oct. – Nov. (Includes correspondence from James Prideaux,
Oct. 31, 1976 and Lon McCallister, Nov. 11, 1976; also
includes Hepburn’s handwritten replies on some letters.)
Dec. (Includes correspondence from William Ball, ca. Dec. 1976
and Dorothy Chandler, ca. Dec. 1976.)
undated 1976 and ca. 1976 (Includes correspondence from
Paulette Goddard, Max Gordon, Dina [Merrill], Stephen
[Sondheim], and Hal and Martha Wallis.)
1977
Jan. – Mar.
Apr. – undated 1977
Box 32
F. 1
F. 2
F. 3
F. 4
F. 5
Get Well Cards, 1976 (Includes card from Maggie Smith.)
Contact Sheets 1976 – 1977
Hotel Accommodations, 1977
Itineraries, 1976 – 1977
Notes, ca. 1977 (Includes Hepburn’s handwritten notes and drawing of
ground plan.)
F. 6
F. 7
F. 8
F. 9
F. 10
F. 11
F. 12
F. 13
Tickets (Lyric Theatre, Kansas City, Mo.), 1977 Mar. 5
Programs, 1976 – 1977
1976
Ahmanson Theatre (Los Angeles, Ca.), Nov.
Symphony Hall (Phoenix, Az.), Dec. 13 – 18
1977
Curran Theatre (San Francisco, Ca.), Jan.
Queen Elizabeth Theatre (Vancouver, B.C.), Jan.
Portland Auditorium (Portland, Or.), Jan. – Feb.
Seventh Avenue Theatre (Seattle, Wa.), Feb. 1- 6
Lyric Theatre (Kansas City, Mo.), Mar 1 – 5
50
Katharine Hepburn Papers
F. 14
F. 15
Morris A. Mechanic Theatre (Baltimore, Md.), May
Souvenir Programs, 1976 – 1977 (One program includes company
F. 16
Clippings, 1976 – 1977 (Includes transcript of Claudia Cassidy radio
contact information on inside front cover.)
program commentary.)
F. 17
The Millionairess, 1950 – 1953 and 1981
Correspondence, 1950 – 1952 and 1984
General, 1950 - 1952
1950 – 1951 (Includes June 27, 1950 letter relating conversation
between Lawrence Langner and Armina Marshall with George
Bernard Shaw re: Hepburn; see also As You Like It
correspondence, Dec. 1950.)
F. 18
1952
Feb. (Includes note from Hepburn re: postponement of N.Y.
engagement and hiring Karl Nielsen, ca. Feb. 1952; see also
Constance Collier and Michael Benthall correspondence.)
F. 19
F. 20
F. 21
F. 22
F. 23
Mar. - Apr.
May 6 – 10 (Includes telegram from “George” [Cukor], probably.)
May 13 - 15
May 19 - 31
June (Includes letters re: hotel for Constance Collier and Phyllis
Wilbourn, May-June.)
F. 24
F. 25
July
Aug. (Includes letter from Lawrence Langner with Hepburn’s name
misspelled and her reply on bottom, Aug. 13, 1952.)
F. 26
F. 27
Sept.
ca. Aug. – Sept. (Includes notes from Hugh (“Binkie”) Beaumont
F. 28
Oct. – Nov. (Includes Theatre Guild letter with Hepburn grocery
and postcard from Jessie Royce Landis.)
list on verso; also includes two notes from “Lynn” [Fontanne],
probably, Oct. 28 and ca. Oct.1952.)
F. 29
F. 30
F. 31
F. 32
Dec.
Peters, Margot, 1984 Aug. (Includes request for Hepburn’s reactions to
playing in The Millionairess, Aug. 4, 1984, Hepburn’s draft of reply,
Aug. 14, 1984, and two pages of Hepburn’s recollections.)
Tracy, Spencer (Probably), 1952 May (Includes several telegrams
and floral cards signed “Pot” and “Tot.”)
Opening Night Telegrams and Wishes, 1952
Royal Court Theatre (Liverpool), May 3 - 6
“B – C” (Includes telegrams from “Binnie” [Barnes], probably,
Richard Burton, Constance [Collier], and Gladys Cooper.)
F. 33
F. 34
F. 35
“D – G” (Includes telegrams from Chester [Erskine], Edith Evans,
Margot Fonteyn, Peter Glenville, Betsy [Drake] and Cary
[Grant].)
“K – L” (Includes telegrams from Ruth Gordon and Garson Kanin,
Jessie Royce Landis, Margaret Leighton, and Lynn [Fontanne]
and Alfred [Lunt].)
“M – O” (Includes telegrams from Aubrey Mather, “Old Vic” (John
Blatchley, Leo McKern and “Cooper,” and Vivien [Leigh] and
51
Katharine Hepburn Papers
Laurence Olivier.)
52
Katharine Hepburn Papers
F. 36
“P – R” (Includes telegrams from Rachel [Kempson] and Michael
F. 37
“S – W” (Includes telegrams from Irene [Selznick], probably, Sam
Redgrave, and Cyril [Ritchard].)
and Bella Spewack, Sam Spiegel, Ben Thau, Emlyn Williams,
and Ella [Winters] and Donald [Ogden Stewart].)
F. 38
First Name Only
Box 33
F. 1
Theatre Royal (Newcastle on Tyne), June 6 and 17 (Includes
telegram from [Alice] Palache.)
F. 2
F. 3
F. 4
F. 5
F. 6
F. 7
F. 8
New Theatre (London), June 24 - 27
“B – D” (Includes wishes from “Betty” [Lauren Bacall], James
[Bailey], Cecil Beaton, [Theodore] Bikel, “Charlie”
[Humphrey Bogart], and Peter Brook.)
“E – H” (Includes telegrams from Chester and Sally [Erskine],
“Jack” [John Ford], Joan Greenwood, Alec Guinness, Radie
Harris, Helen Hayes (two telegrams, one dated May 27, 1952),
one of Hepburn’s brothers, and Wendy Hiller.)
“I – O” (Includes wishes from Ruth [Gordon] and Garson [Kanin],
Aubrey Mather, Louis B. Mayer, John and Mary Mills, Vivien
[Leigh] and Laurence Olivier, and Cathleen Nesbitt.)
“P – R” (Includes telegrams from Cole Porter, Anthony Quayle,
Rachel [Kempson] amd Michael Redgrave, and Margaret
Rutherford.)
“S – T” (Includes wishes from Irene [Selznick], probably (two
telegrams), Sam and Bella Spewack, Ben Thau, and Carroll
[Tracy].)
“U – W” (Includes telegram from Peter Ustinov.)
First Name Only (Includes wishes from “Dick,” “Dudley,”
“Emily,” and “Fran.”)
F. 9-10
Floral Cards (All Productions), ca. 1952 (Includes cards from Noel
Coward, Philippe de Rothschild, John Gielgud, Cyril and Madge
Ritchard, Sam Spiegel, and the Theatre Guild.)
F. 12
Fan Mail, 1952
May – June
July (Includes correspondence from Aubrey Mather, July 5, 1952; John
F. 13
Aug. (Includes correspondence from Hans Zeisel, Aug. 11, 1952 and
F. 11
Gielgud, July 15, 1952; Gertrude Macy, July 23, 1952.)
Horace Wilbourn, Aug. 13, 1952.)
F. 14
F. 15
Sept.
undated 1952 (Includes correspondence from Jack Benny and Chester
[Erskine].)
F. 16
F. 17
Casting, 1952 Feb. 11
Costumes, 1952 May and ca. 1952 (Includes Pierre Balmain ink sketch,
letter from Balmain’s office, and Hepburn’s handwritten description of
gloves needed for production.)
F. 18
F. 19
F. 20
Financial, 1952 – 1953
Publicity, 1952
Clippings, 1952
Jan. – July
53
Katharine Hepburn Papers
F. 21
F. 22
F. 23
F. 24
F. 25
F. 26
F. 27
F. 28
F. 29
F. 30
F. 31
F. 32
New York Times Magazine, July 13
Shubert Theatre (N.Y., N.Y.), 1952 and ca. 1952
Correspondence, 1952
Opening Night Telegrams, Oct. 16 - 17
“A – C” (Includes telegrams from Cleveland Amory, Humphrey
Bogart and Lauren Bacall, Yul Brynner, and George Cukor;
includes Hepburn’s handwritten replies on most.)
“D – E” (Includes telegrams with Hepburn’s handwritten replies
from Jean Dalrymple, Diana Douglas, and Chester Erskine.)
“F – G” (Includes telegrams with Hepburn’s handwritten replies
from Dorothy and Herbert Fields, Harold Freedman, Betsy
[Drake] and Cary Grant, and Meta [Stern] and “Pappy” [John
Ford].)
“H” (Includes telegrams with Hepburn’s handwritten replies from
Radie Harris, Rex [Harrison] and Lilli [Palmer], Signe Hasso,
Hurd Hatfield, Helen Hayes, “Dad” and Santa, and Gusti
Huber.)
“I – K” (Includes telegrams with Hepburn’s handwritten replies
from Ruth [Gordon] and Garson [Kanin].)
“L – M” (Includes telegrams and wishes with Hepburn’s
handwritten replies from Abe and Frances Lastfogel, Bea
Lillie, Dorothy [Stickney] and Howard Lindsay, Jinx
Falkenberg McCrary, Alicia Markova, Elsa Maxwell, Louis B.
Mayer, and Jo Mielziner.)
“N – P” (Includes telegrams with Hepburn’s handwritten replies
from Barry Nelson, and Vivien [Leigh] and Laurence Olivier.)
“R” (Includes telegrams with Hepburn’s handwritten replies from
Cyril Ritchard and Jay Robinson.)
“S” (Includes telegrams with Hepburn’s handwritten replies from
Vincent Sardi, Jr., Tonio Selwart, Madeleine and Bob
Sherwood, and Lee Shubert.)
“T – Y” (Includes telegrams with Hepburn’s handwritten replies
from Carroll Tracy and Blanche Yurka.)
First Name Only (Includes telegrams with Hepburn’s handwritten
replies from “Dick and Estelle,” “Frank,” and “Jack and
Natasha.”)
Fan Mail, 1952 and ca. 1952
1952
Box 34
F. 1
F. 2
Oct.
Nov. (Includes correspondence from Robert Ryan, Nov. 8,
1952.)
F. 3
F. 4
Dec.
ca. Oct. – Dec. (Includes correspondence from Judy Garland
and Jane [Loring], probably.)
F. 5
F. 6
Contract, 1952 (Includes letter from Theatre Guild.)
Publicity, 1952 Aug. 6 (Includes letter from Jo Heidt re: working on
publicity.)
F. 7
F. 8
Programs, 1952
Clippings, 1952 Dec. and 1981 (Includes Dec. 1952 issue of Theatre
54
Katharine Hepburn Papers
Arts magazine with letter from fan who sent it to Hepburn during The
West Side Waltz, Mar. 26, 1981.)
55
Katharine Hepburn Papers
F. 12
Miss Moffat (Musical), 1973
Jan. – Nov. (Includes correspondence from Josh Logan.)
Dec. and undated 1973 (Includes correspondence from Josh Logan.)
Night Hostess, 1928 Aug. 22 (Includes contract with John Golden, Inc.)
Night of 100 Stars and Night of 100 Stars III (Television), 1981 –
1990
1981 – 1982 (Includes two letters from Alexander H. Cohen and one from
F. 13
1989 Dec. – 1990 Mar. (Includes form letter from Helen Hayes, draft of
F. 9
F. 10
F. 11
Nedda Logan; Hepburn did not appear.)
F. 14
F. 15
F. 16
F. 17
Hepburn solicitation letter, and Hepburn typed response to John Springer
letter of Mar. 9, 1990.)
1990 May (Includes fan letters from Liz Smith, May 7, 1990; Daniel Mayer
Selznick, May 25, 1990; Noel Taylor, May 25, 1990.)
Old Vic Australian Tour (Measure for Measure, The Merchant of
Venice, and The Taming of the Shrew) 1954 – 1955 and ca. 1955
Correspondence, 1954 - 1955
General, 1954 – 1955
1954 (See also Michael Benthall correspondence.)
1955 (Includes Hepburn’s handwritten transcript of Robert Helpmann
telegram, Jan. 1, 1955 and undated telegram from Richard Avedon
re: photo.)
Hepburn, Katharine – Draft of Letter, ca. 1955 (Includes letter from
Hepburn to Michael Benthall and Alfred Francis re: poor business.)
Opening Night Telegrams and Wishes, 1955
Tivoli Theatre (Sydney), Apr. – May
F. 18
F. 19
F. 20
F. 21
(Includes telegrams from Sally and Chester Erskine, Ruth [Gordon]
and Garson [Kanin], Vivien [Leigh] and Laurence [Olivier]
(two telegrams), and “Sean Aloysium Sterne” [John Ford].)
“R – W” (Includes telegrams from Cyril and Madge [Ritchard],
Irene [Mayer Selznick], probably, Carroll [Tracy], and Pat and
Robert Wise.)
First Name Only
Her Majesty’s Theatre (Perth), Nov. 12 (Includes telegram from
Michael [Benthall], probably.)
F. 22
Floral Cards, 1955 (Includes cards and notes from Robert Helpmann and
F. 23
Fan Mail, 1955 (Includes letter from The Sunday Advertiser drama critic,
family, and “No Signature” from Beverly Hills.)
H. Stafford Northcote, Oct. 14, 1955.)
F. 24
F. 25
F. 26
F. 27
F. 28
F. 29
F. 30
Cast List, ca. 1955
Itineraries (Proposed), ca. 1955
1955
Hepburn, Katharine – Actors & Announcers’ Equity
Association of Australia Card
Publicity – Photo Calls
Program, May – Nov. (Program is autographed by company.)
Scripts (Promptbooks), 1955
Measure for Measure
The Merchant of Venice and The Taming of the Shrew
56
Katharine Hepburn Papers
Box 35
F. 1
The Taming of the Shrew – Script Fragment and Notes (Includes
Hepburn’s handwritten notes.)
F. 2
F. 3
Clippings, 1955 July – 1955 Oct. (See also Scrapbooks.)
The Philadelphia Story, 1938 - 1940
1939
Correspondence
General (Includes two letters re: publicity photograph, memo re: ticket
prices, and two Shubert Theatre (N.Y.) ticket envelopes.)
Opening Night Telegrams, Feb. – Mar.
Shubert Theatre (New Haven, Ct.)
“A – W” (Includes telegrams from Vera [Allen], [Philip] Barry,
F. 4
F. 5
F. 6
Marc Connolly, “Sean” [John Ford], Meta [Stern], and
Valentina.)
First Name Only (Includes telegram from “Jane” [Loring],
probably.)
Philadelphia, Pa. (Includes telegrams from Garson Kanin, “Toledo
Tom,” and “Guess Whom.”)
Shubert Theatre (N.Y., N.Y.)
“A – D” (Includes telegrams from Vera [Allen], Tallullah
F. 7
F. 8
F. 9
F. 10
[Bankhead], Jane Cowl, Laura Hope Crews, and Joan
Crawford.)
“F – L” (Includes telegrams from Edna Ferber, “Sean” [John
Ford]. Philip Foster, Leland [Hayward], Van [Heflin],
probably, and Dennis Hoey.)
“L – W” (Includes telegrams from Lenore [Lonergan], Victor
Moore, Mark Sandrich, Hope and Edgar Scott, and Herbert
Bayard Swope.)
First Name Only (Includes telegrams from “Stephen” and
“Stephens,” possibly Howard Hughes.)
Telegrams with Replies in Pencil on Verso
“A – B” (Includes telegrams from Richard Aldrich, Fay Bainter,
F. 11
F. 12
F. 13
F. 14
F. 15
F. 16
F. 17
Margaret Barker, and Rosemary and Stephen Vincent
Benet.)
“D - H” (Includes telegrams from Eddie Dowling, Philip
Dunning, Moss Hart, Arthur Hopkins, and Miriam
Howell.)
“J – L” (Includes telegrams from “Bobby” [Robert Edmond]
Jones, Elissa [Landi], Melchior and Mrs. Lengyel, Jane
Loring, Lynn [Fontanne] and Alfred Lunt.)
“M” (Includes telegrams from Florence [Eldridge] and Fredric
March, George Middleton, and “Tony” [Worthington
Miner].)
“S” (Includes telegrams from Shepperd Strudwick and Meta
[Stern].)
“T - W” (Includes telegrams from Franchot [Tone], probably
and Orson [Welles], probably.)
First Name Only (Includes telegrams from “Elsie,” “Muriel,”
and “Patsy.”)
Floral Cards, ca. 1939
57
Katharine Hepburn Papers
F. 18-19
F. 20
F. 21
F. 22
F. 23
F. 24
F. 25
F. 26
F. 27
F. 28
F. 29
F. 30
(Includes floral cards from “Hobe” [Philip Barry], probably, Laura
[Harding], probably, Leland [Hayward], Van [Heflin], Theresa
Helburn and Lawrence Langner, George Stevens, “Tom,” and
“Zebby” [O.Z. Whitehead].)
Hughes, Howard (Probably) (Includes two floral cards (one with
note written) from “Boss.”)
Fan Mail, 1939
Mar. – July and Dec. (Includes correspondence from Ralph Marcus
(with poems), Apr, 3 and Apr. 8, 1939; Jimmy Shute, July 8,
1939; Laura Hope Crews, Dec. 28, 1939.)
undated, 1939 (Includes correspondence from Irene Dunne, Lillian
Gish, and Ruth Gordon.)
Scripts, ca. 1939
“Final Version Prompt Copy” (Includes Karl Nielsen’s script.)
“Final Copy” (Includes Karl Nielsen’s script.)
Unmarked Copy
Contracts, 1938 – 1939
Insurance, 1939
Programs, 1939 – 1940
(Includes Apr. 10 (photocopy), Aug. 7, Oct. 12, 1939 and Mar. 25, 1940
programs.)
Souvenir Program, ca. 1939
Clippings, 1939 - 1940
Tour, 1939 - 1940
Box 36
F. 1
Correspondence, 1940 (Includes three telegrams signed “Phil” [Barry],
F. 2
Production Materials, 1939 – 1940 (Includes itineraries with possible
probably.)
grosses, additional stops after St. Louis, and company roster.)
F. 3
These Days, 1928
Script – Sides (“Veronica”), 1928 (Includes sides for Act II and Act II,
Sc. 4.)
F. 4
1928
Parsons Theatre (Hartford, Ct.), Oct. 25 – 27 (Includes letter from
F. 5
Cort Theatre, Nov. (Includes program without cover and photocopy of
David Wallace, program without cover, and photocopy of program.)
program.)
F. 6
The Tudor Wench (Motion picture), 1934 (Includes correspondence from
Elswyth Thane Beebe and photos of London production and Derrick de
Marney.)
F. 7
The Warrior’s Husband, 1932 and 1934
Correspondence, 1932
General, 1932 and 1934 (Includes two telegrams from Harry Moses re:
possible road tour and London production.)
F. 8
Opening Night Telegrams and Wishes, Mar. 11
“B – K” (Includes telegrams from Edward Chodorov, Jane Cowl,
Arthur Hopkins, and Colin [Keith-Johnston].)
F. 9
“L - W” (Includes telegrams from Frances Robinson-Duff.)
58
Katharine Hepburn Papers
F. 10
First Name Only (Includes telegram from “Unsigned,” possibly from
Ludlow Ogden Smith.)
F. 11
Floral Cards, ca. 1932 Mar. 11 (Includes floral cards from “Beany”
[Margaret Barker], Colin [Keith-Johnston], Frances Robinson-Duff,
and “Your Grateful Author” [Julian F. Thompson].)
F. 12
F. 13
F. 14
F. 15
F. 16
Fan Mail, 1932
Mar.
Apr.
May – July and 1934 (Includes one letter re: possible tour.)
Contract (Photocopy), 1932 Feb. 9
Program and Clipping, 1932 and 1938 (Includes Morosco Theatre
program and photocopy of program and one clipping.)
F. 17
The West Side Waltz, 1979 – 1984 and undated
Correspondence, 1979 – 1982 and undated
General, 1979 - 1982
1979 and 1980 (Includes letter from Robert Fryer, probably re: The
West Side Waltz, July 31, 1979.)
F. 18
F. 19
F. 20
F. 21
1981 and ca. 1981
Jan. – Apr. (Includes letter form Jack Valenti, Apr. 3, 1981.)
June – Oct. and ca. 1981 (Includes letter of June 16, 1981 from
James M. Ryan re: Seattle engagement with Hepburn’s
handwritten reply on letter.)
1982 (Includes correspondence from Ernest Thompson, Jan. 9 and Sept.
12, 1982.)
Re: Script, 1980 - 1982
1980
Mar. 10 and Apr 8 (Includes Hepburn’s typed letter to Thompson,
Mar. 10, 1980 and letter from Thompson, Apr. 8, 1980.)
F. 22
Apr. 15 (Includes memo of Hepburn’s telephone conversation with
Robert Whitehead and script pages.)
F. 23-24
1981 – 1982 (Includes correspondence to and from Ernest Thompson
and handwritten drafts of several Hepburn letters.)
F. 25-26
Opening Night Telegrams and Wishes, 1980 - 1981
Spreckels Theatre (San Diego, Ca.), 1980 Dec. (Includes
telegrams from Broadhurst Theatre crew, Robert Helpmann, Irene
[Mayer Selznick], probably, Freya [Manston], and “George”
[Cukor], probably.)
F. 27
F. 28
F. 29
F. 30
F. 31
1981
Denver Auditorium Theatre (Co.), Jan.
Ahmanson Theatre (Los Angeles, Ca.), Jan. – Feb.
(Includes telegrams from Jim Bridges and Jack Larson,
Anthony Harvey, Susie [Tracy], probably, and Susan Moon.)
Curran Theatre (San Francisco, Ca.), Mar. (Includes telegram
from David Eichler.)
Fifth Avenue Theatre (Seattle, Wa.), May 6 (Includes
telegram from “Your Proud Creator” [Ernest Thompson],
probably.)
Forrest Theatre (Philadelphia, Pa.), Oct. (Includes telegram
from Anthony Harvey and list of telegrams received.)
59
Katharine Hepburn Papers
F. 32
F. 33
F. 34
F. 35
Ethel Barrymore Theatre, Nov.
“A -G” (Includes telegrams from “Betty” [Lauren Bacall],
probably, Broadhurst Theatre crew, Ben Edwards and Jane
[Greenwood], “Chelsea” [Jane Fonda], and Peter Glenville;
some include Hepburn’s handwritten replies.)
“H - M” (Includes telegrams and wishes from Tony [Harvey],
probably, and Lena Horne.)
“P - Z” (Includes telegrams from Jule Styne and Robert
Whitehead; some include Hepburn’s handwritten replies.)
Floral Cards, ca. 1980 - 1981
1980
Spreckels Theatre (San Diego, Ca.) (Probably), ca. Dec.
(Includes card from “Tony” [Harvey], probably, and Abe
Lastfogel.)
F. 36
Ahmanson Theatre (Los Angeles, Ca.) (Probably), Jan. 21
(Includes cards from George Cukor, Henry Ephron, Sally and
Chester [Erskine], Jane Fonda, “Tony” [Harvey], probably,
Louis L’Amour, and Ellis Rabb.)
F. 37
F. 38
F. 39
F. 40
F. 41
F. 42
F. 43
F. 44
F. 45
1981
Curran Theatre (San Francisco, Ca.), Mar.
Forrest Theatre (Philadelphia, Pa.) Oct. and ca. Oct.
(Includes cards from David Eichler, Norah Considine Moore,
and Ernest Thompson; also includes Hepburn’s handwritten
list of flowers received.)
Ethel Barrymore Theatre, Nov. 19 (Cards are arranged by size,
then alphabetically.)
“A – S” (Includes floral cards from “Zöe [Caldwell], Sam and
Charlie,” Ben and Jane [Greenwood] Edwards, Shirlee and
Hank [Fonda], Armina [Marshall], Mickey Rooney, Irene
Mayer Selznick, and Roger L. Stevens.)
“B - M” (Includes floral cards from Michael Bennett, Lionel
Larner, and Jack Larson.)
“S – W” and First Name Only (Includes floral cards from
Jule Styne, Ernest Thompson, and Hal and Martha Wallis.)
undated, 1981 (Includes floral cards from Ben and Jane
[Greenwood] Edwards, “David” [Eichler], probably, Martha
and Hal [Wallis], Robert [Whitehead], probably, and Barbara
Walters.)
Gifts Received, ca. 1980 – ca. 1981 (Includes Hepburn’s handwritten
list of gifts received.)
ca. 1980 Dec.
ca. 1981
Jan. 20
Nov.
Cast and Crew, 1981 and ca. 1981 - 1982
1981
Box 37
F. 1
F. 2
Jan. – May
June – July (Includes Closing Night wishes for pre-Broadway tour,
60
Katharine Hepburn Papers
June 7, 1981 and telegram from Robert Whitehead, June 3,
1981.)
61
Katharine Hepburn Papers
F. 3
ca. 1981 – 1982 (Includes thank you note from cast and crew, notes
from Ludi Claire, cards from Robert Whitehead, and holiday card
from Christine and Roger Stevens.)
F. 4-5
Fan Mail, 1980 – 1982
1980 Dec. and ca. Dec. (Includes Hepburn’s handwritten reply on
one letter; also includes handbill and clipping for The West Side
Waltz.)
F. 6
F. 7
F. 8-9
F. 10
F. 11
1981
Jan. 1 – 21 (Includes notecard with Hepburn self-portrait for Actors
and Others for Animals, correspondence from Henry Fonda,
Jan. 20, 1981, and Peter O’Toole, Jan. 21, 1981.)
Jan. 23 - 29 (Includes correspondence from Emily Torchia, Jan. 24,
1981, and Charlton Heston, Jan. 28, 1981.)
ca. Jan. (Includes correspondence from Angela [Lansbury],
probably, Jeanne Cagney, Irving Paul Lazar, and Louis J.
Lombardo, who helped care for Spencer Tracy.)
Feb. (Includes card from Anthony Harvey, Feb. 25 (?), 1981)
Mar. (Includes watercolor of Hepburn by fan, Foley Mears, Mar. 16,
1981.)
F. 12
F. 13
ca. Mar.
Apr. (Includes correspondence from Diane Beaumont, Bryn Mawr
alumna re: film of 1928 May Day celebration, Apr. 6, 1981,
and Madge Kennedy, Apr. 28, 1981.)
F. 14
F. 15
F. 16
F. 17
F. 18
F. 19-20
May
June, Nov. and undated
1982
Feb.
Mar. 3 – 9
ca. 1981 - 1982
Scripts, 1981 – 1984 and undated
1981
Aug. (Includes two scripts from envelope marked “Aug. 1981;” also
includes some revised pages dated 1980, Hepburn’s self-portrait
sketched on first page, some annotations, and six sheets of
Hepburn’s handwritten revisions.)
F. 21
Updated Sept. 11 and Oct. 28
Box 38
F. 1
ca. 1982 (Includes note and color snapshot from Milos Buttrie (sp.?)
thanking Hepburn for letting him read play; also includes pencil
sketch of Hepburn on first page and some annotations and revisions.)
F. 2
1984 Feb. 17
undated
F. 3
(Includes six pages of handwritten (by unknown person) revisions and
eleven revised typed pages with some annotations by Hepburn.)
F. 4
Incomplete
Red Cover (Includes sketch and some notes on title page by unknown
F. 5
person and some revisions.)
Loose Pages – Act I, undated
62
Katharine Hepburn Papers
F. 7
Revisions, 1980 and undated
1980
Act I, Feb. and Apr. 30
Act II, Feb. – Apr.
Box 39
F. 1
F. 2
Feb. 23, Mar. 6, and undated
Feb. 23, Mar. 6, and Apr. 28 (Mar. 6 revisions includes two
F. 3
Act II, Sc. 2 (Includes one set of revisions dated Mar. 4, 1980 and
F. 4
Act II, Sc. 2 (Includes one set of revisions marked “10/20/80
F. 5
“Original Pages of New Script,” undated (Includes some pencil
handwritten notes by Hepburn.)
note handwritten by Hepburn.)
mailed from California” in Hepburn’s handwriting.)
annotations by Hepburn.)
Published Version (Dodd, Mead & Company), 1982
F. 6
F. 7
F. 8
F. 9
F. 10
(Includes bound volume with dust jacket.)
Introduction (Includes correspondence and Hepburn’s typed
manuscript.)
Awards, 1981 - 1982
Charlotte Cushman Award, 1981 Oct. 22 (Includes letter from
Charlotte Cushman Club nominating Hepburn, and her refusal
handwritten on letter.)
Drama-Logue Critics’ Award, 1981 (Includes certificate to Hepburn
for Ahmanson Theatre production.)
F. 14
Tony Nomination Letter, 1982 May 10
Casting, 1980 – 1981 (Includes Hepburn’s handwritten comments.)
Contact Sheets, 1981
Pre-Broadway
Ethel Barrymore Theatre
Costumes/Wardrobe, 1981 (Includes Hepburn’s handwritten list of
F. 15
Financial, ca. 1981 Feb. – 1981 Dec. (Includes handwritten sheet re:
F. 11
F. 12
F. 13
costumes and letter of recommendation for dresser.)
bonus schedule and two ledger sheets re: Hepburn’s income for Forrest
Theatre and tickets paid by Hepburn.)
F. 16
F. 17
Itinerary (Pre-Broadway), 1980 – 1981
Music, ca. 1981 (Includes typed list of selections for Act I, Scenes 1 and 2,
and Hepburn’s handwritten notes on music; also includes card with
Hepburn’s graphic “doodles” for On Golden Pond.)
F. 18
F. 20
Notes, ca. 1980 (Includes Hepburn’s handwritten notes.)
Potential Tours and Productions, 1980 – 1983
Production Staff, ca. 1981 (Includes list possibly for Los Angeles or San
F. 21
Venture Fund Benefit – Episcopal Diocese of N.Y., 1981 Nov. 17
F. 19
Francisco.)
(Includes program.)
F. 22
Programs, 1981 – 1982
1981
Denver Center for the Performing Arts, 1981 (Includes two
63
Katharine Hepburn Papers
programs autographed by Hepburn.)
64
Katharine Hepburn Papers
F. 23
Ahmanson Theatre (Los Angeles, Ca.), Jan. and Mar.
(Includes two programs; Jan. program is autographed by
Hepburn.)
Box 40
F. 1
Curran Theatre (San Francisco, Ca.), Mar. – Apr. (Includes one
program (Mar.) autographed by Hepburn and two others.)
F. 2
F. 3
F. 4
F. 5
th
5 Avenue Theatre (Seattle, Wa.), May
Forrest Theatre (Philadelphia, Pa.), Oct.
Ethel Barrymore Theatre, 1982 Jan. – 1982 Mar.
Tour, 1982 and ca. 1982
Correspondence, 1982
General (Includes correspondence from Richard Coe, May 28, 1982;
Ernest Thompson, Aug. 31, 1982; Robert Whitehead, Sept. 23,
1982; also includes message with A Matter of Gravity rehearsal
photos printed on it from Len Tavares (photographer), undated
1982. )
F. 6
F. 7
F. 8
F. 9
Opening Night Floral Cards, 1982 and ca. 1982
Kennedy Center (Washington, D.C.), ca. Mar. (Includes
floral cards from Carol Lawrence, Ernest Thompson (two),
and Robert [Whitehead].)
Shubert Theatre (Chicago, Il.), ca. May (Includes floral cards
from “Dustin H.,” and Ernest [Thompson], probably.)
ca. 1982
1982
Closing, June (Includes telegrams from Robert Whitehead and
David [Eichler].)
F. 10
Cast and Crew (Includes cards from company, notes from “Dot”
[Dorothy Loudon], Sept. 25, 1982, and Regina Baff, July 11
and Oct. 29, 1982.)
F. 11
Hepburn, Katharine – Drafts of Letter Re: Kennedy
Center Backstage Conditions, 1982 Apr. – 1982
May (Includes several typed drafts of letter to Roger L.
F. 12
Photo Incident, 1982 Apr. (Includes correspondence re: Boston
Stevens, Apr. 10, 1982 and Stevens’s reply, May 4, 1982.)
performance stopped by Hepburn when flash photo was taken
by an audience member; includes Hepburn’s handwritten
replies on some.)
F. 13
Fan Mail
Mar. 17 – 30 and ca. Mar. (Includes correspondence from
Sen. Edward Zorinsky, Mar. 17, 1982; Anthony Shriver,
ca. Mar.; Mark Shriver, ca. Mar.)
F. 14
F. 15
F. 16
Apr. (Includes Hepburn’s handwritten replies on some letters.)
May (Includes Hepburn’s handwritten replies on some letters.)
June (Includes one card Hepburn’s handwritten reply on
envelope.)
F. 17
F. 18
F. 19
Contact Sheet, 1982
Hotel Accommodations, ca. 1982
Itinerary, 1982
65
Katharine Hepburn Papers
F. 20
F. 21
F. 22
F. 23
F. 24
F. 25
F. 26
F. 27
Publicity, ca. 1981
Programs, 1982
Kennedy Center (Washington, D.C.), Mar. – Apr.
Shubert Theatre (Boston, Ma..), Apr.
Shubert Theatre (Chicago, Il.), May
Clippings, 1982
Mar. 31
Apr. 12 and Apr. 19 (Includes two copies of Panorama.)
Television and Motion picture, 1982 – 1983
Correspondence, 1982 Mar. – Nov. and ca. 1982 (Includes several
letters re: possible productions, some with Hepburn’s handwritten
replies, and handwritten note from Ernest Thompson, ca. 1982.)
Script (Television), 1983 (Revised May 13) (Includes several loose
sheets of Hepburn’s handwritten comments.)
Without Love, 1942 and ca. 1942 – 1943
Correspondence, 1942 and ca. 1942
General
Box 41
F. 1
F. 2
F. 3
May – Aug (Includes letter from Arthur Hopkins, May 26, 1942.)
Sept. – Oct. and ca. 1942
Hepburn, Katharine – Letter re: Not Doing Play, ca. Aug.
(Includes incomplete handwritten letter to “Terry, Laurence [sic], and
Philip.”)
F. 4
Opening Night Telegrams, Mar. 4 – 23
McCarter Theatre (Princeton, N.J.), Mar. 4 - 5
“A –O” (Includes telegrams from David Eichler, Leland [Hayward],
Robert Edmond Jones, and Gilbert Miller.)
F. 5
“P – S” and First Name Only (Includes telegrams from [Alice]
Palache and “Rus” [Jones], Otto Preminger, and Lee Shubert.)
F. 6
Baltimore, Md., Mar. 12 – 14 (Includes telegrams from “Jane”
F. 7
Walnut Street Theatre (Philadelphia, Pa.), Mar. 23 (Includes
[Loring], probably, and “Dan,” possibly Howard Hughes.)
telegram from “Hobe Phil” [Barry], probably, and floral card, also
probably from Barry.)
F. 8
F. 9
F. 10
F. 11
Script, ca. 1942 (Includes some handwritten revisions by Hepburn.)
Act I
Act II
Act III
Contracts (Photocopies), 1942 and 1943 (Includes copy of Jan. 5, 1943
letter to Lawrence Langner, probably from Dr. Hepburn.)
F. 12
Programs, 1942 – 1943 and ca. 1942
1942
Nixon Theatre (Pittsburgh, Pa.), May (Includes program and
flyer.)
F. 13
Cass Theatre (Detroit, Mi.), 1942
66
Katharine Hepburn Papers
F. 14
St. James Theatre, 1943 Jan. – 1943 Feb. (Includes programs and
F. 15
Souvenir Program, ca. 1943 (Includes pencil notes by unidentified
ticket stubs.)
person, mostly re: costumes; also includes notebook sheet with
sketch and notes re: costumes.)
F. 16
F. 17
Clipping, 1942 Nov. 8
The Woman in the Moone [sic] – Script, ca. 1928 (Includes carbon copy
F. 18
Yeats: A Celebration! (Irish Repertory Theatre Benefit), 1994
with “Pem West Not To be Taken Away” printed on cover.)
F. 19-20
(Includes program and thank you note for benefit production at Booth
Theatre, June 6, 1994; Hepburn introduced celebrity performers.)
Unidentified Production Costume Research, 1956 (Includes portion of
book on French tapestries, From Medieval to Modern: The Metropolitan
Museum Brings a Great Tradition to America [1956], clippings of artworks,
illustrations, hairstyles, and other visuals.)
Series III: Scripts, 1940 – 1995 and undated
Box 42
F. 1
All But One by Jolly Taylor, 1995 (Includes letter from Taylor, Nov. 9,
F. 2
But When All’s Said and Done by Penelope Gilliatt, 1983 and 1984
1995.)
F. 3
F. 4
F. 5
F. 6
F. 7
F. 8
F. 9
(Script is marked “Version C,” Nov. 17, 1983; includes short note from
Joseph Papp submitting script to Hepburn, Feb. 7, 1984.)
Catalina On a Clear Day by Chester Erskine, ca. 1958 (See also Chester
Erskine correspondence.)
The Circle by Somerset Maugham (Samuel French Acting Edition),
1948
Cookin’ with Gus by Jim Brochu (Samuel French Acting Edition),
1982 (Includes inscription by author to Hepburn.)
Double Murder by Chester Erskine, undated
The Human Element by Zöe Akins, from the story of the same title by
W. Somerset Maugham, ca. 1948
I Am Different by Lili Hatvany, undated
I Would Be Called John by Eugene Kennedy, [1986] (“In Memory of
Spencer Tracy” on second page.)
Box 43
F. 1
F. 2
Into Thin Air (Rehearsal Copy) by Chester Erskine, ca. 1955
Kate: A Celebration by Don Hayes, 1993 (Includes script with some
revisions, program for Chicago production, and publicity materials; see also
Photographs.)
F. 3
F. 4
F. 5
Lady in the Corner by Allan Leicht, ca. 1989
The Lady of the Camellias adapted by Isobel Strachey from the novel
and the play ‘La Dame aux Camellias’ by Alexandre Dumas
Fils, 1956 (Includes note from Strachey submitting play, July 12, 1956.)
Liberty Jones by Philip Barry, ca. 1940 (Title handwritten by Hepburn on
cover.)
F. 6
Man in the Moon (Motion picture Treatment) by Reza Royce, 1956
Aug. (Includes letter with treatment from Royce to “Dear George,” Aug. 3,
1956, and handwritten note, probably from George Cukor to Hepburn
explaining Royce letter.)
F. 7
Portrait of a Lady by Alexander King and Chester Erskine, ca. 1941
(Includes Dec. 1941 production information on cover and title page.)
67
Katharine Hepburn Papers
F. 8
F. 9
Second Threshold by Philip Barry, ca. 1951 (Script is coverless.)
This Little Realm by Phyllis Smith Webster, 1987 (Includes thank you
note from author, Feb. 3, 1987.)
Box 44
F. 1
F. 2
F. 3
The Visit by Friedrich Duerrenmatt, adapted by Maurice Valency
(Samuel French Acting Edition), 1984
Manuscripts (Found with The West Side Waltz Script), undated and
1972
An Ablution for Spring (Novella?), undated (No author listed.)
“The Silver Medallion” (Essay?) by Richard Savage, 1972 (Includes
4 pp. manuscript.)
F. 4
Series IV: Subject Files, ca. 1854 – 1997 and undated
Acting, undated
Dixon, Alfred – Speech Notes, undated (Includes page of handwritten
notes by Hepburn; see also Oversized materials.)
F. 5
F. 6-7
F. 8
Robinson-Duff, Frances, undated
Lessons (Black Ring Binder) (Includes a few annotations by Hepburn.)
Decomposing Exercises (119 pp.) (Includes photocopy of sheet
marked “Unbound Copy of Miss Robinson-Duff ‘Delsarte’ – Hold for
Miss Hepburn.”)
Vocal Exercises (“For K. H. H.” on cover of Schirmer’s Manuscript
Book; exercises are handwritten.)
Awards, 1970 – 1988 (See also Production files.)
Box 45
F. 1
F. 2
F. 3
F. 4
F. 5
Lawrence Langner Award, 1976 Feb. 26 (Includes letter from Isabelle
Stevenson and Richard Barr re: Hepburn receiving first Lawrence
Langner Award.)
Theater Hall of Fame, 1973 – 1988 (Includes correspondence and
programs; Hepburn is listed on 1974 roster, but her name was inscribed
in 1979.)
Uptown Musicians Citation of Honor, 1970 May 3 (Includes
certificate in bound case, presented at Third Town Hall Benefit Concert;
Hepburn’s name is misspelled on case.)
Berlin, Irving, 1970 May 10 (Includes copy of letter from Leonard Gershe to
Berlin with envelope addressed to Robert E. Dolan.)
Books, 1909 – ca. 1983
Botto, Louis. At This Theatre (Page Proofs and Galley Fragments),
ca. 1983 (Includes portion of envelope with Donald Smith Promotions,
Inc. address label.)
F. 6
F. 7
Collier, Constance. Harlequinade: The Story of My Life, 1929
Houseman, John. The American Shakespeare Festival: The Birth
of a Theatre (with Jack Landau), 1959 (Inscribed by authors;
F. 8
Langner, Lawrence. The Importance of Wearing Clothes, 1959
includes notes from authors and 1959 ASF season listing.)
(Inscribed “To Phyllis…” [Wilbourn], probably; includes dust jacket.)
Box 46
F. 1
The Modern Readers [sic] Shakespeare, Vol. I, 1909 (Includes “The
Life of Shakespeare” and King Henry VI, Parts I, II, and III.)
Exhibitions, 1939 and 1958
68
Katharine Hepburn Papers
F. 2
F. 3
F. 4
F. 5
The Stage, 1939 Apr. 3 – 1939 Apr. 22 (Includes catalog with Alexander
Brook portrait of Hepburn; exhibition was benefit for The Public
Association.)
Jones, Robert Edmond, 1958 (Includes correspondence and signed loan
form for two set designs from The Philadelphia Story.)
Hepburn, Katharine, ca. 1982 – 1982
Letter of Introduction to George C. Tyler from Dave Wallace, ca.
1928 - 1930
Notes and Ephemera, ca. 1952 - ca. 1974 and undated (Includes two
small sheets of handwritten notes found with Michael Benthall
correspondence; one note re: the flower “diosma,” a business card for
“Henri Boeuf,” Paris, typed list of 1936 grosses for Idiot’s Delight on
Gilbert Miller stationery, clipping with reproduction of photo of The Late
Christopher Bean set, and postcard of Chartwell, Kent, England.)
F. 6
F. 7
Poem – “Kate” by Steven Honig, 1982
Telegrams Sent, [1952] Nov. 20 (Includes file copy of typed list of two
F. 8
Travel, 1954 Nov. 13 (Includes S.S. Independence receipt for $758.00 for
telegrams sent by Hepburn.)
F. 9-10
F. 11
F. 12
F. 13
one steamer fare from Naples to N.Y. and brochures for Great Britain
historic sites.)
Lawrence Langner Tribute, 1962 – 1963 (Includes correspondence,
program, drafts of Hepburn’s speech delivered by Cyril Ritchard at memorial
service, and obit.)
Morosco Theatre – Speech, ca. 1982? (Includes Hepburn’s manuscript and
drafts of speech protesting demolition.)
Music (Published), 1915 - 1935
Chopin’s Complete Works for the Piano – Book Nine – Preludes
(Schirmer’s Library, Vol. 34), 1915
Cole Porter Song Album (Harms, Inc.), 1935 (Includes a few
annotations; fragile condition.)
F. 14
F. 15
The Vocal Music to Shakespeare’s Plays – Hamlet (Samuel French,
Ltd.), 1922
Programs, 1902 – 1992 and undated
Theatre, 1902 – 1992 and undated
“A – B,” 1928 – 1977 (Includes programs for The Age of Innocence,
1928; All’s Well That Ends Well, 1953; Antony and Cleopatra, 1951;
Bedroom Farce, 1977.)
F. 16
“C,” 1928 – 1977
General, 1928 - 1977 (Includes programs for Cause Célèbre, 1977;
The Cenci, 1959; Coquette, 1928; Crown Matrimonial, 1972.)
F. 17
F. 18
F. 19
F. 20
Caesar and Cleopatra (St. James Theatre, London), 1951
“D,” 1952 – 1972 (Includes programs for The Day Is Light Enough,
1954; The Day After the Fair, 1972; Dial ‘M’ for Murder, 1952; A
Doll’s House, 1953; Duel of Angels, 1958.)
“E – F,” 1977 – 1992 (Includes programs for the Elliot Norton Award,
1992; Filumena, 1977; Foxfire, 1982.)
“G,” 1945 and 1978 (Includes programs for The Glass Menagerie, 1945,
“With Joe October 20/45” written by unknown person on credits
page; Gymanfa Ganu, 1978.)
Box 47
69
Katharine Hepburn Papers
F. 1
“H - J,” 1972 – 1978 (Includes programs for Half-Life, 1978; John
F. 2
“K,” 1951 and 1977 (Includes programs for King Henry the Fourth, Part
F. 3
“L,” 1950 and 1972 (Includes programs for Lace on Her Petticoat, 1950
F. 4
“M – N,” 1952 – 1975 (Includes programs for Montserrat with some
Gabriel Borkman, 1975; Jumpers, 1972.)
I, 1951; King Richard the Second, 1951; The Kingfisher, 1977.)
and Lloyd George Knew My Father, 1972.)
F. 5
F. 6
F. 7
F. 8
annotations by Hepburn, 1952; Much Ado About Nothing (two), 1952;
No Man’s Land, with phone number written by Hepburn on back
cover, 1975; The Norman Conquests, 1974.)
“O,” 1952 and ca. 1971 (Includes programs for Old Times, ca. 1971;
The Other Heart (two programs, one with Hepburn’s annotations),
1952.)
“P,” 1950 and 1954 (Includes programs for Point of Departure, 1950;
The Prisoner, 1954.)
“R,” 1935 – ca. 1973 (Includes programs for Relative Values with
Hepburn’s annotations, 1951; Romeo and Juliet - New Theatre,
1935; Broadhurst Theatre, 1951; Fifty-First St. Theatre souvenir
program, 1940; The Royal Hunt of the Sun, ca. 1973.)
“S,” 1951 – 1978
General, 1960 – 1978 (Includes programs for St. Mark’s Gospel,
1978 and two Mermaid Theatre brochures; The Servant of Two
Masters, City Center (probably) souvenir program, 1960; State of
Revolution, 1977 with theater schedule.)
70
Katharine Hepburn Papers
F. 9
F. 10
Shakespeare Memorial Theatre (Stratford-Upon-Avon), 1951
and 1956 (Includes two small season programs – Mar. 24 – June
30, 1951 and July 2 – Sept. 1, 1951; souvenir program with
Stratford Montage 1949 – 1956; individual productions are filed
alphabetically by title.)
Stratford Festival (Ontario, Canada), 1957 (Includes souvenir
season program.)
“T,” 1952 – 1975
F. 11
F. 12
F. 13
F. 14-15
F. 16
F. 17
F. 18
F. 19-20
(Includes programs for A Taste of Honey, 1959; The Tempest - StratfordUpon-Avon (two), 1952; Old Vic, 1954; A Touch of Spring,
1975.)
Two Gentlemen of Verona, 1972 (Includes program and handmade
thank you card signed by the company.)
“W – Y,” 1951 – 1952 and 1980 (Includes programs for Waters of the
Moon, 1951; Whose Life Is It Anyway, 1980; Winter Journey, 1952;
The Young Elizabeth, 1952.)
Historical, 1902 – 1923 and undated (Includes programs for Adrea,
1905; Bella Donna, 1912; La Citta Morta, 1923; DuBarry, ca. 1902 –
1905; Hamlet, undated; The Marionettes, ca. 1911; The Merry Wives
of Windsor, 1916; Romeo and Juliet, undated; Twelfth Night, 1919;
When Knighthood Was in Flower, undated; Zaza, ca. 1905.)
Dance, 1933 - 1972
General, 1951 – 1972 (Includes programs for Sadler’s Wells Ballet,
1952; Royal Ballet, May 8, 1958; Cinderella (two), Dec. 16, 1972
with Hepburn’s “hangman” game on back cover; The Tales of
Hoffmann (Motion picture), 1951.)
Ballet Russe de Monte Carlo, 1933 Dec. 24 (Includes souvenir
program inscribed by Sol Hurok, Dec. 24, 1933.)
Music, 1951 and 1985 (Includes programs for Eileen Joyce concert, May 6,
1951; Garden State Concert Band, July 2, 1985 sent by Emily Zierold.)
Solowey, Ben – Portfolios 1 and 2 of Sketch Reproductions, 1963 and
ca. 1963 (Includes brochure, 1963; “Erik P.,” handwritten in pencil on
folders; brochure has illustration of Hepburn, but there is no print in either
portfolio.)
F. 21
F. 22
Theaters, 1931 – 1957 and undated
Commonwealth Theatre, Inc. (N.Y., N.Y.) Brochure, ca. 1931 –
1932
Dock Street Theatre (Charleston, S.C.), 1938 Jan. (Includes reprint of
DuBose Heyward article in Magazine of Art.)
Box 48
F. 1
Nixon Theatre, 1950 (Includes letter and clipping re: backstage iron hooks;
also includes clippings on theater and program for final production,
Diamond Lil.)
F. 2
Shakespearean Festival (Stratford, Can.), 1957 and undated
(Includes two postcards.)
F. 3
F. 4
Touchstone Theatre - Prospectus (Philadelphia, Pa.), undated
Walnut Street Theatre – Tickets (Philadelphia, Pa.), 1948 Nov.
(Includes two tickets for unidentified production.)
Theatrical Memorabilia, ca. 1854 – 1997 and undated
Adams, Maude, 1899 – 1916 and undated
L’Aiglon Pictorials, ca. 1900 and 1901
71
Katharine Hepburn Papers
F. 5
F. 6
F. 7
F. 8
F. 9
F. 10
F. 11
ca. 1900
1901 (Includes two program fragments.)
The Little Minister, 1899, 1916, and undated
Edition–de-Luxe Souvenir (R.H. Russell), 1899
Program (Empire Theatre), 1916
Photo Reprints, undated
Quality Street Souvenir, 1901
Programs, Miscellaneous, ca. 1905 – 1916 (Includes programs for
Chantecler, 1911; A Kiss for Cinderella, 1916; Peter Pan, ca. 1905.)
F. 12-13
Barrymore, Ethel, 1902 – 1919 and 1938 (Includes programs for Cousin
Kate (two); Déclasse, 1919; The Off Chance, 1918; Our Mrs.
McChesney, 1915; The Twelve Pound Look, 1911; Whiteoaks, 1938; also
includes clippings.)
F. 14
F. 15
F. 16
Collier, Constance, 1913 – 1997 and undated
General, 1906 – 1997 and undated (Includes postcards with images of
Collier, Lawrence Langner speech at Collier memorial service, 1955.
and letter from Collier family member.)
Shakespeare’s Women by Constance Collier, 1913 (Includes two
copies of reprint from University of California Chronicle, Vol. XLI,
No. 1 with some annotations by Hepburn.)
Dean, Julia – Much Ado About Nothing, ca. 1854 (Includes
illustration.)
F. 17
“Instructions from Mr. Mansfield, Oct. 24, 1906, Grand Opera
House, Chicago, Ill.,” undated (Includes carbon copy of typed
F. 18
Terry, Ellen, 1915 and 1929 (Includes programs for Shakespeare’s
transcript with “From: Bill Doll & Co.” with address typed on top.)
Birthday Celebration, 1915; Ellen Terry Memorial Fund, 1929.)
F. 19
F. 20
Theatre Arts, 1942 June (Includes issue of magazine.)
Tracy, Spencer – Tribute (Majestic Theatre), 1986 Mar. 3 (Includes
three programs; see also American Academy of Dramatic Arts
correspondence.)
F. 21
F. 22
Clippings, 1938 – 1994
Hepburn, Katharine, 1938 – 1944
General, 1950 – ca. 1970 (Includes clippings of G.B. Shaw, Cecil Beaton,
Katharine Houghton, I Knock at the Door, and The Golden Years Caper.)
F. 23
Series V: Photographs, 1908 – 1995 and undated
American Shakespeare Festival, 1957 – 1960 and 1992 - 1995
General, 1957 - 1992
1957, 1960, and undated (Includes exterior photos of theater and
surrounding area.)
F. 24
F. 25
F. 26
ca. 1957 and 1960 (Includes black and white snapshots of dock; “View of
public dock from bed” handwritten by Hepburn on one photo; also
includes some photos of lighthouse and unidentified woman with cat.)
1995 Feb. (Includes color exterior photos taken by Eleanor C. Winkel and
note.)
“Kate’s Cottage,” 1960 and 1992 Jan. (Includes note from MarJo Takach
who photographed cottage exterior.)
Publicity, 1957
72
Katharine Hepburn Papers
F. 27
F. 28
General
Old Vic Australian Tour Photos
1957 Season
Box 49
F. 1
The Merchant of Venice (Includes Friedman-Abeles photos, color
transparencies, and color snapshot.)
F. 2
F. 3-4
Much Ado About Nothing
General (Includes Friedman-Abeles photos and color snapshot.)
Costume Research (Includes photos of Los Angeles County Museum
materials.)
F. 5
Publicity (Includes photos by Friedman-Abeles, Ira F. Doud, Jr., and
Michael Kurtz.)
F. 6-9
F. 10-12
Rapport, Will Photos (Possibly Tour)
1960 Season
Antony and Cleopatra
General (Includes print with “Heavier than the Christopher Strong moth
dress” and “No more Shakespeare-Stratford – What a loss!”
written on verso.)
F. 13-14
F. 15-18
F. 19
Holmes, Martha Photos
Twelfth Night (Includes Martha Holmes photos.)
Art and Mrs. Bottle, 1931
As You Like It, ca. 1949 – 1951
Box 50
F. 1-3
F. 4
Rapport, Will Photos (Boston, Probably), ca. 1949
Cort Theatre, 1950
General (Includes Vandamm prints and color print, probably Mar. 1950 by
unknown photographer.)
F. 5
F. 6
F. 7
Contact Sheets (Includes Vandamm contact sheets.)
Rehearsals, ca. 1949 – 1950
Tour, 1950 – 1951 (Includes note from Mary C. Sullivan with photos of
Cincinnati performances and exteriors; also includes four faded color
candid snapshots of Hepburn in costume and at event in Detroit.)
F. 8
F. 9
Unknown Venue, ca. 1950 – 1951
The Big Pond, 1928 (Includes contact sheet fragment, probably White Studio
photos.)
F. 10
F. 11-12
F. 13
F. 14
F. 15
F. 16-17
Coco, 1953 – 1969and ca.1969
ca. 1969
Backstage Photos
Closeups,
Costume Sketches and Research
Pike Paintings of Coco Chanel, undated
ca. 1969
Color Prints and Transparencies
Production and Publicity Photos (Includes Friedman-Abeles photos.)
73
Katharine Hepburn Papers
F. 18-21
F. 22-23
F. 24
Recording Studio
Rehearsal Photos
Research - Chanel, Coco, 1953 and undated (Includes prints of photos
by Cecil Beaton and Wide World Photos.)
F. 25
F. 26
Sketches by Katharine Hepburn of Herself as Coco, ca. 1969
Theater Exteriors (N.Y.), 1969
Slides, ca. 1969
Box 51
F. 1
F. 2
F. 3
F. 4-5
F. 6-10
General
Marked “Kills”
Tour and Miscellaneous, undated
The Lake, 1933 (Includes Vandamm photos and photo of Hepburn clipping.)
A Matter of Gravity, 1976
Friedman, Sy - Photos (Includes two prints of Robert Whitehead with
Hepburn, contact sheet and head shots of several cast members.)
F. 11
Color (Includes prints, transparencies, and slides; also includes one snapshot of
Hepburn with cast, and turkey on platter.)
F. 12
F. 13
Tour (Includes head shots of Hepburn and Paddy Croft.)
The Millionairess, 1952
London (Includes Angus McBean photos, color dressing room shot, and
theater exterior.)
F. 14
F. 15
New York, Dec. 16 (Includes Eliot Elisofon photos for Life magazine.)
Night of 100 Stars III (Television), 1991 (Includes color snapshot with
Robort Borod; also includes note.)
F. 16-19
F. 20-26
Old Vic Australian Tour, 1955
General
Measure for Measure (Includes Allan Studios Photos.)
Box 52
F. 1
F. 2-5
F. 6
The Merchant of Venice (Includes Allan Studios Photos.)
The Taming of the Shrew (Includes Allan Studios Photos.)
Negatives
Adelaide (Includes negatives of Hepburn and Robert Helpmann outdoors
and of countryside.)
F. 7
Brisbane (Includes negatives of troupe on plane en route to Sydney; see
F. 8
Heyman Island (Includes several negatives of Robert Helpmann as King
F. 9
Melbourne (Includes negatives of Hepburn at Sherbrooke Forest feeding
F. 10-11
Sydney (Includes negatives of Hepburn and Robert Helpmann in Brisbane
also Sydney for negatives of Hepburn and Robert Helpmann.)
Lear.)
swans with Robert Helpmann and in lounge chair.)
and Sydney.)
F. 12
F. 13-14
The Philadelphia Story, 1939 – 1945 and 1982
1939
Shubert Theatre (New Haven, Ct.), Feb. 17
Colonial Theatre (Boston, Ma.), Mar. (Includes Richard Tucker
photos.)
74
Katharine Hepburn Papers
F. 15
F. 16
Vandamm Photos, ca. Mar.
ca. 1939 – 1940 (Includes photo of Gloria Strong drawing of Hepburn, 1940
F. 17
Publicity, ca. 1939 and 1945 (Includes two reproduction prints from
and snapshot of curtain call.)
F. 18
F. 19
F. 20
F. 21
F. 22
F. 23
Museum of Modern Art identified as stage production and M.G.M. head
shot by Clarence S. Bull, probably for film.)
Tour, 1940 Nov. and 1982 (Includes snapshot taken by Hope Jordan of
photo of Hepburn and Viola Roach in Angola, Indiana restaurant; also
includes note and envelope.)
The Warrior’s Husband, 1932 (Includes White Studio photos, possibly.)
The West Side Waltz, ca. 1981
General (Includes two Steve Schapiro photos.)
Color (Includes prints and snapshots.)
Slides
Without Love, 1942
Walnut Street Theatre (Philadelphia, Pa.), Feb. – Aug. (Includes
candid photos; also includes photos with Alice Palache, Emily Perkins,
and Charles Newhill.)
F. 24-25
F. 26
Colonial Theatre (Boston, Ma.), Apr. (Includes Richard Tucker photos.)
St. James Theatre (N.Y., N.Y.) (Includes Vandamm photos and head shots
of Audrey Christie.)
F. 27
Unidentified Productions, undated (Includes photo of Hepburn with
unidentified crew, and some candid photos; some photos possibly American
Shakespeare Festival.)
Hepburn, Katharine, ca. 1930s – 1993 and undated
Box 53
F. 1
Publicity, ca. 1930s – 1990s (Includes fragments of photos of Hepburn in
F. 2
aviator costume and others, Hepburn landing in Jordan, ca. 1950s, a
Museum of Modern Art composite photo, 1969, a color photo of
Hepburn in The Madwoman of Chaillot costume with text, and two color
slides, probably from the 1990s.)
Graffiti, undated (Includes photo of “Hepburn Forever” incised on sidewalk
at Highland and Franklin in Hollywood.)
“A Scene in Whitbeck’s Office,” 1952 Sept. 2 (Includes note with
black and white photo of painting of Hepburn in The African Queen on
top of cabinet in Frank Whitbeck’s (M.G.M.) office.)
F. 3
F. 4
Ben Bagley’s Cole Porter Revisited, Vol. IV and Ben Bagley’s
Contemporary Broadway Revisited, ca. 1979 and 1985
F. 5
Kate: A Celebration, 1993 (Includes photos of Cissy Conner as Hepburn;
F. 6
Old Vic - A Midsummer Night’s Dream (English Speaking Union
Benefit), 1954 (Includes two publicity photos of Hepburn and others.)
Benthall, Michael, 1920 – 1964 and undated
Collier, Constance, 1908 and ca. 1950s (Includes one photo with Hepburn
(Includes photos of album covers.)
see also Scripts.)
F. 7-8
F. 9
and one with Phyllis Wilbourn; see also Subject Files – Theatrical
Memorabilia.)
F. 10
Cotts, Campbell, 1952 (Includes autographed photo with dog.)
Helpmann, Robert, 1964 and 1986
75
Katharine Hepburn Papers
F. 11
The Display (Ballet), 1964 (Includes James Robinson photos of dancer in
F. 12
1986 (Includes photos of Queen Elizabeth II and Prince Philip at unveiling of
costume and Ron Protas photo of Helpmann.)
sculpture of Helpmann, Mar. 10, 1986 and photo of Helpmann as the Red
King in Checkmate, 1986; clipping also included.)
F. 13
F. 14
Hopkins, Arthur, undated
Langner, Lawrence and Marshall, Armina, undated (Includes Martha
F. 15
Lenya, Lotte, 1981 and 1982 (Includes letter from Ted Mitchell, Apr. 14, 1982
Holmes photo.)
F. 16
F. 17
F. 18
F. 19
F. 20
with color snapshots of Lenya taken May 21, 1981; includes Hepburn’s
handwritten reply on letter.)
Robinson-Duff, Frances, undated (Includes photos of advertisements, one
with reproduction of Kenneth MacKenna’s note introducing Hepburn.)
Stevens, George, 1974 Apr. (Includes color snapshot of Stevens with wife,
Joan, and Ruth Warner.)
Terry, Ellen, undated (Includes cabinet photo of Terry “As Queen Henrietta
Maria;” see also Subject Files – Theatrical Memorabilia.)
Williams, Hope, undated (Includes Herbert Mitchell photo.)
Unidentified, 1958 and ca. 1960s (Includes color snapshot of man in front of
palm trees and black and white photo of two actors in period costume with
holiday greetings on verso from “We Three.”)
Series VI: Scrapbooks, 1950 – ca. 1969
Box 54
F. 1
As You Like It, 1950 Jan. 26 (Includes leather bound and engraved scrapbook
of As You Like It historical illustrations; inscribed with passage from play
“To Our Kat With Love – Terry – Lawrence - Armina.”)
Box 55
The Millionairess – Angus McBean Photo Scrapbook, 1952 (Scrapbook
was prepared and signed by McBean; includes box.)
F. 1
F. 2
Loose Photos
Album
Box 56-57
Old Vic Australian Tour, 1955 (Includes clippings and photos; scrapbook in
Box 57 contains July 18, 1955 clipping mentioning daily calls from Hepburn
to Spencer Tracy.)
Box 58
General Scrapbook, ca. 1969 (Includes material from Coco and The
Madwoman of Chaillot, poetry, and clippings.)
Series VII: Oversized, 1906 – 1981 and undated
Photos, 1928 - 1976
American Shakespeare Festival, 1957, ca. 1957, and 1960
Box 59
F. 1
F. 2
Publicity, ca. 1957
Much Ado About Nothing, 1957 and ca. 1957
(Includes Friedman-Abeles photos.)
76
Katharine Hepburn Papers
F. 3
Costume Research, ca. 1957 (Includes Los Angeles County
Museum materials.)
F. 4-10
Twelfth Night Costume Designs, 1960 (Includes photos of Rouben
Ter-Arutunian designs.)
F. 11-13
Art and Mrs. Bottle, 1930 (Includes White Studio photos; fragile
condition.)
As You Like It, 1950
Box 60
F. 1-9
F. 10
F. 11-14
F. 15-18
Vandamm Photos (Cort Theatre)
Rapport, Will – Photos (Tour, Probably)
The Big Pond, 1928 (Includes White Studio photos; fragile condition.)
Coco (Musical), 1969 and ca. 1969
1969
McElroy, Robert R. (Newsweek Photos), Oct. 7
Color Photos
Box 61
F. 1
F. 2-6
F. 7-9
Unmounted Prints
Mounted Prints
Recording, ca. 1969
Box 62
F. 1
F. 7
The Lake, 1933 (Includes one Vandamm photo.)
A Matter of Gravity, 1976
Friedman, Sy – Photos
Contact Sheets
Publicity (Includes mounted photo of Hepburn outside stage door.)
Tour – Blackstone Theatre (Chicago, Il.) (Includes color mounted
F. 8
The Millionairess, 1952 (Includes Brian Seed photograph for Time-Life;
F. 2-5
F. 6
“Marks On” photo.)
fragile condition.)
F. 9-10
F. 11-12
F. 13
F. 14
F. 15
The Philadelphia Story, 1939 (Includes Vandamm portraits of Hepburn.)
The Warrior’s Husband, 1932 (Includes White Studio photos.)
Hepburn, Katharine - Portraits, ca. 1920s and ca. 1960s
Early Theatre, ca. 1920s
Beaton, Cecil, ca. 1960s (Photo is signed by Beaton.)
Collier, Constance, 1954 Apr. 29 (Includes photo of “A Message to
American Shakespeare Festival, April 29, 1954 by Constance Collier.”)
Miscellaneous Materials, 1906 – 1981 and undated
Coco, 1954 – 1971
Box 63
F. 1
Orchestra Testimonial, ca. 1970 (Includes “letter” on parchment
signed by pit orchestra telling Hepburn she can’t quit.)
F. 2
Research, 1954 - 1971
Life Magazine, 1954 - 1969
1954 Mar. 1
77
Katharine Hepburn Papers
F. 3
F. 4
F. 5
1957 Aug. 19 (Fragile condition.)
1969 Dec. 19
Paris Match, 1971 Jan. (Includes two copies of article and one entire
issue.)
F. 6
Tour – Stage Manager’s Script (Probably), ca. 1970 (Includes
binder with gold letters affixed (some missing); “To Kate From Ed,
Mike, and Mark” on cover; clean photocopied script with lists of
production materials at end.)
Box 64
F. 1
Cymbeline (Queen’s Theatre, Manchester) – Souvenir, 1906 Jan.
(Includes souvenir of “Mr. Richard Flanagan’s Eleventh Shakesperian
[sic] Revival;” inscribed by publisher; fragile condition.)
F. 2
F. 3
Much Ado About Nothing (Life Magazine Clipping), 1957
Hepburn, Katharine, - Alfred Dixon Vocal Exercises, undated
(Includes loose worksheets with Hepburn’s handwriting in leather folio
with initials “S.T.” engraved on cover; also includes two sheets of
clippings re: The Lake.)
Costume Designs, 1936 and 1955
Box 65
F. 1
Old Vic Australian Tour – The Taming of the Shrew, 1955 (Includes
F. 2
Unidentified Production by Muriel King, 1936 (“Mrs. Knox” and other
sketch by Ruth Dolgov.)
information on verso; possibly film design.)
F. 3
American Shakespeare Festival – Award and Proclamation, 1957 –
1958 (Includes Fifth Annual Shakespeare Award, Apr. 1958; also includes
F. 4
company expression of gratitude to Hepburn “Our Beatrice,” signed by
Jacqueline Brookes, Will Geer, Sada Thompson, Alfred Drake, and others.)
As You Like It Caricature by Jan Sherwood, 1950 (Includes ink caricature,
“Hepburn Takes As You Like It into Unchartered Territory;” see also As You
Like It Production files.)
F. 5
Photos, 1939 – ca. 1969
Coco – Recording, ca. 1969 (Includes one photo.)
The Millionairess, 1952 (Includes Angus McBean signed, mounted portrait
F. 6
of Hepburn.)
F. 7
The Philadelphia Story (Colonial Theatre, Boston, Ma.), 1939
F. 8
Hepburn, Katharine – Print of Painting for The Fund for Animals,
undated (Limited edition print.)
Window Cards, 1976 and 1981
A Matter of Gravity (Ahmanson Theatre, Los Angeles, Ca. and
National Theatre, Washington, D.C.), 1976
The West Side Waltz (Forrest Theatre, Philadelphia, Pa. and Ethel
Barrymore Theatre, N.Y., N.Y.), 1981
Scrapbook Fragment – Coco (Michael Benthall, Probably), 1969 –
1970 (Includes clippings, photos, correspondence from Alan Jay Lerner,
(Includes one Richard Tucker photo of Hepburn; matting is torn.)
F. 9
F. 10
F. 11
F. 12
André Previn, and telegrams; also includes note from Hepburn telling
Benthall “I hope I did you proud.”)
Programs – Photocopies, 1928 - ca. 1950 (Includes photocopies of programs
for As You Like It, Orpheum Theatre, Baltimore, Md., ca. 1950; The Dollar
(Holiday), Shubert Theatre, New Haven, Ct., 1928; The Lake, Martin Beck
78
Katharine Hepburn Papers
Theatre – National Council of Jewish Women, N.Y. Section benefit, Dec. 25,
1933; The Philadelphia Story, Shubert Theatre, N.Y., Oct. 2, 1939.)
79